0:00:02 > 0:00:04Britain's top artists make big money.
0:00:04 > 0:00:05Their works can go for millions.
0:00:05 > 0:00:10Nine million five, ten million, ten million five, 11 million.
0:00:10 > 0:00:12Up and down the country, thousands of ordinary people
0:00:12 > 0:00:15are also trying to get a piece of the action.
0:00:15 > 0:00:17They're putting their necks on the block
0:00:17 > 0:00:20for the chance to sell at the hottest exhibition in town.
0:00:20 > 0:00:24I must admit, I take my hat off to you for being so courageous.
0:00:24 > 0:00:27I feel ecstatic. It really means a lot to me.
0:00:27 > 0:00:31Those who doubted me, maybe they won't now.
0:00:31 > 0:00:34These artists could stand to make some serious cash.
0:00:34 > 0:00:35This one is £2,000.
0:00:35 > 0:00:37- £900.- £1,800.
0:00:37 > 0:00:39But first they need the seal of approval
0:00:39 > 0:00:42from three of the art world's toughest critics.
0:00:42 > 0:00:44I think areas of this are so crude,
0:00:44 > 0:00:47it's almost like looking at painting by numbers.
0:00:47 > 0:00:50Their hopes are in the hands of the Hanging Committee.
0:00:50 > 0:00:53- You're making it up as you go along. - You're just not opening your eyes.
0:00:53 > 0:00:57Is it enough to be...to be art? I don't know.
0:00:57 > 0:00:59- I think Roy's mad. I'm going to say yes.- Thank you.
0:00:59 > 0:01:02It's time to show me the Monet.
0:01:06 > 0:01:08Hello and welcome to Show Me The Monet.
0:01:08 > 0:01:10Over the past few months,
0:01:10 > 0:01:13amateur and professional artists have had to withstand
0:01:13 > 0:01:16razor-sharp critique from our judges in the hope they get a chance
0:01:16 > 0:01:20to show and sell their work at our prestigious London exhibition
0:01:20 > 0:01:21at The Mall Galleries.
0:01:21 > 0:01:26But to get there, they must impress three of the most demanding critics in the business.
0:01:27 > 0:01:30David Lee is one of the art world's most outspoken critics.
0:01:30 > 0:01:33Renowned for his tirades against conceptual art,
0:01:33 > 0:01:37his pet hate is work that's all explanation and no substance.
0:01:37 > 0:01:40Emotional content is a constant in art,
0:01:40 > 0:01:44because what moves us hasn't changed over the centuries.
0:01:44 > 0:01:49Charlotte Mullins is the newly-appointed editor of the prestigious magazine Art Quarterly.
0:01:49 > 0:01:53A contemporary specialist, she knows what it takes to cut it in the modern art world.
0:01:53 > 0:01:56So long as a work is technically well executed,
0:01:56 > 0:01:59any material can be used successfully to make art.
0:01:59 > 0:02:02And Roy Bolton is our resident money man.
0:02:02 > 0:02:05As an art dealer, he's sold thousands of paintings over the years.
0:02:05 > 0:02:09But he knows there's more to great art than just commercial value.
0:02:09 > 0:02:12Art is a conversation between the artist and the viewer.
0:02:12 > 0:02:16So if an artwork doesn't engage with the public, how can they be interested in it?
0:02:16 > 0:02:20Thousands of hopeful artists applied,
0:02:20 > 0:02:23but only the very best would be selected to show their work
0:02:23 > 0:02:24at The Mall Galleries.
0:02:26 > 0:02:30If you come back next year, I may say yes.
0:02:32 > 0:02:36Coming up on today's programme, David reveals his sinister side...
0:02:36 > 0:02:40I would expect to see this portrait on the walls of a museum of...
0:02:40 > 0:02:42crime.
0:02:42 > 0:02:45..and emotions are running high for one hopeful artist.
0:02:45 > 0:02:50It's all-consuming. It is... It's everything. And it's like showing someone your soul.
0:02:54 > 0:02:56Eltham Palace, London -
0:02:56 > 0:02:59home to kings and queens from the 14th to 16th centuries,
0:02:59 > 0:03:02and Edward IV's favourite residence after Westminster.
0:03:02 > 0:03:05It was here in the spectacular Great Hall
0:03:05 > 0:03:08that the judges set up their Hanging Committee,
0:03:08 > 0:03:10and artists from all over the country
0:03:10 > 0:03:12came to showcase their work.
0:03:15 > 0:03:19'First to face the panel was 32-year-old Craig Hudson, from Ipswich.
0:03:19 > 0:03:22'Craig left his job in retail after ten years
0:03:22 > 0:03:24'and signed up for a degree in fine art.
0:03:24 > 0:03:28'Now he's got his sights set on becoming a professional artist.'
0:03:28 > 0:03:30So what are your ambitions, then?
0:03:30 > 0:03:32Well, just to be able to survive.
0:03:32 > 0:03:36To be able to make a living and do something I love doing every day.
0:03:36 > 0:03:39Do you feel if you get into this, you're joining the big boys?
0:03:39 > 0:03:41Well, I don't know about joining big boys,
0:03:41 > 0:03:44- but it's definitely a start, a rung on the ladder.- Yeah.
0:03:44 > 0:03:47I'm excited now. What would you do if you got to the exhibition and sold?
0:03:47 > 0:03:51If I sold, then... I don't know. I'd take my family out for the day.
0:03:51 > 0:03:56- Mate, good luck.- Thank you. - I hope it goes well. The judges are just through that door.- Cheers.
0:03:59 > 0:04:01What a moment for Craig.
0:04:01 > 0:04:02He only graduated last year,
0:04:02 > 0:04:06and now he's got a chance to make an impact on the London art scene.
0:04:06 > 0:04:09He's pinning his hopes on this bronze sculpture
0:04:09 > 0:04:11clutching a teddy bear.
0:04:11 > 0:04:14But will the judges see a place for it in their exhibition?
0:04:22 > 0:04:24- Craig.- Hi.- Welcome.- Thank you.
0:04:24 > 0:04:27Please explain your hulk and his teddy.
0:04:27 > 0:04:31OK, this piece is called You Can Have My Ted.
0:04:31 > 0:04:36I made this piece in response to my brother,
0:04:36 > 0:04:41who recently was diagnosed with testicular cancer.
0:04:41 > 0:04:43When it came to his chemotherapy,
0:04:43 > 0:04:46I was at the hospital with him
0:04:46 > 0:04:50and basically there was no consoling him.
0:04:50 > 0:04:55So, really, to see such a man regarded quite highly in my thoughts
0:04:55 > 0:04:59to be brought down to this level was a bit upsetting.
0:04:59 > 0:05:03So I wanted to make a figure which represented him.
0:05:03 > 0:05:05This big, bold personality.
0:05:05 > 0:05:08And basically when I was younger, obviously if I was ill,
0:05:08 > 0:05:10then I'd always want my teddy bear.
0:05:10 > 0:05:13So I decided to give the figure the ted.
0:05:16 > 0:05:18That's great. And what price do you put on this work?
0:05:18 > 0:05:24- Roughly £2,100.- Great. Well, we'll have a closer look, then.
0:05:26 > 0:05:29This is obviously a very personal piece for Craig,
0:05:29 > 0:05:30and he's placed a high price on it.
0:05:30 > 0:05:34But will it also appeal to a wider audience?
0:05:34 > 0:05:38The judges are looking for originality, technical skill
0:05:38 > 0:05:40and emotional impact.
0:05:40 > 0:05:43And Craig's sculpture will have to tick all those boxes.
0:05:43 > 0:05:47He also needs two yeses from the panel to get through to the exhibition.
0:05:59 > 0:06:03- 2,100 or thereabouts...- Yeah.
0:06:03 > 0:06:06- ..is extremely attractive pricing, I would have thought.- Right, OK.
0:06:06 > 0:06:11People don't expect to be able to buy bronzes for anything less than that, you know.
0:06:11 > 0:06:13Just purely cos the material cost is so high.
0:06:13 > 0:06:182,100 for a bronze that size is giving it away.
0:06:19 > 0:06:21That's a good start for Craig.
0:06:21 > 0:06:24If he makes it through to the exhibition,
0:06:24 > 0:06:26he might actually want to boost that price tag.
0:06:30 > 0:06:32Have you made sculpture before?
0:06:32 > 0:06:34Not really, no.
0:06:34 > 0:06:37I've recently graduated from university,
0:06:37 > 0:06:42where in the last year I made, started making sculptures.
0:06:42 > 0:06:47And alongside the course I took an internship at a local foundry,
0:06:47 > 0:06:51so that's where the progression has come from.
0:06:51 > 0:06:54So you've been lucky enough to work in a material
0:06:54 > 0:06:58- as expensive and tricky as bronze straight away. - Yeah.- That's very fortunate.
0:06:58 > 0:07:01I love the fact that the arms are fat and huge
0:07:01 > 0:07:05and the hand's covering his feeling of... Well as I take it,
0:07:05 > 0:07:09a sort of feeling of, "Don't look at me, this is my crying moment, I can't be seen."
0:07:09 > 0:07:12The head is so small in comparison to those cast hands.
0:07:12 > 0:07:16It gives a very strong emotional presence to the work
0:07:16 > 0:07:20that takes it way beyond your brother and into something bigger, I think.
0:07:20 > 0:07:24Craig's sculpture seems to be really resonating with the judges.
0:07:24 > 0:07:27They're impressed with his technical ability
0:07:27 > 0:07:30and the unusual proportions of his bronze figure.
0:07:32 > 0:07:35I think you've got a problem with that teddy, to be honest.
0:07:35 > 0:07:37You know...
0:07:37 > 0:07:40I think you should've found some...
0:07:40 > 0:07:42more permanent way
0:07:42 > 0:07:46of linking the idea of the teddy to the bronze,
0:07:46 > 0:07:50because it kind of brings it down to the level of something
0:07:50 > 0:07:52which is a little too throwaway.
0:07:52 > 0:07:55I think maybe a slightly more battered, older teddy
0:07:55 > 0:07:58might have slightly more impact.
0:07:58 > 0:08:01Oh, dear. It was all going so well,
0:08:01 > 0:08:03and I can't believe I'm about to say this,
0:08:03 > 0:08:06but has the TEDDY cost Craig a place at the exhibition?
0:08:06 > 0:08:08It's time for the judges to vote.
0:08:17 > 0:08:18David?
0:08:20 > 0:08:22- Yes.- (Thank you.)
0:08:22 > 0:08:24Charlotte?
0:08:24 > 0:08:25Yes.
0:08:25 > 0:08:27- And yes.- Thank you.
0:08:27 > 0:08:29- Congratulations.- Thank you.
0:08:29 > 0:08:33- Thank you for bringing it. Looking forward to seeing it again.- Thanks.
0:08:33 > 0:08:34Three yeses!
0:08:34 > 0:08:37Craig's sculpture will be dragging that teddy
0:08:37 > 0:08:39off to The Mall Galleries.
0:08:39 > 0:08:41And Craig now has a big decision to make.
0:08:41 > 0:08:45Will he take the judges' advice and put up the price of his sculpture?
0:08:45 > 0:08:46And will anyone buy it?
0:08:51 > 0:08:56The Mall Galleries, London, and Craig's sculpture took pride of place right at the front.
0:08:56 > 0:08:59It's the best venue that I've been in so far,
0:08:59 > 0:09:04so it's just nice to be able to come in and see it where I think it should be.
0:09:04 > 0:09:07The hulk with his teddy was quite a talking point.
0:09:07 > 0:09:10There's a sculpture behind that's of a figure
0:09:10 > 0:09:12and he's pulling a teddy bear.
0:09:12 > 0:09:15And it's sort of like a... It's a big monster-type thing,
0:09:15 > 0:09:17but really wants his teddy bear as well.
0:09:17 > 0:09:21You look at them and they just strike an emotional chord.
0:09:21 > 0:09:26Craig took the judges' advice and upped his asking price to £3,300.
0:09:26 > 0:09:29If anyone wanted to buy his sculpture,
0:09:29 > 0:09:31they had to make a secret bid to an independent agent,
0:09:31 > 0:09:34who would take a 10% commission of the final sale.
0:09:34 > 0:09:37I was given the results of these bids in a sealed envelope,
0:09:37 > 0:09:40to be revealed to Craig at the end of the exhibition.
0:09:44 > 0:09:48Remind us and everybody standing here how much you wanted for this?
0:09:48 > 0:09:50Well, I put it up for £3,300.
0:09:50 > 0:09:55OK, let's find out if you've got some money to spend.
0:09:56 > 0:09:58OK.
0:09:58 > 0:10:01So, you wanted £3,300...
0:10:10 > 0:10:12We didn't get any offers.
0:10:12 > 0:10:15- No.- Oh!- ALL:- Aah!
0:10:15 > 0:10:17Yeah, a big "aah" on that one.
0:10:17 > 0:10:19That amazes me, actually,
0:10:19 > 0:10:21cos it was really popular, wasn't it?
0:10:21 > 0:10:24- Yeah. No, it's fine. It's fine. - Yeah, you're sure?- Yeah.
0:10:24 > 0:10:27- I honestly think that this should give you confidence.- Mmm.
0:10:27 > 0:10:30And believe in yourself, cos we all love it, don't we?
0:10:30 > 0:10:34- ALL:- Yes.- All right. Well, good luck. And give him a round of applause.
0:10:34 > 0:10:35APPLAUSE
0:10:35 > 0:10:38'No sale for Craig this time around,
0:10:38 > 0:10:42'but the great news is that only a few weeks after the exhibition,
0:10:42 > 0:10:45'he held his first solo show in a gallery in Kent,
0:10:45 > 0:10:48'which is impressive stuff after only a year out of university.
0:10:48 > 0:10:52'Hopefully this is just the start of a successful artistic career.'
0:10:57 > 0:11:01Amateur and professional artists from all over the country
0:11:01 > 0:11:04sent in their artwork in many different media
0:11:04 > 0:11:06and of all shapes and sizes.
0:11:06 > 0:11:09But only the very best got through to our Hanging Committee.
0:11:15 > 0:11:17Next up was Abigail Brown,
0:11:17 > 0:11:21a 33-year-old professional silversmith from Cornwall.
0:11:21 > 0:11:25Abigail graduated with a degree in silversmithing and jewellery in 2001,
0:11:25 > 0:11:29and she has since developed a sizable reputation in her field.
0:11:29 > 0:11:32'But her dream is to be recognised not just as a silversmith,
0:11:32 > 0:11:34'but also as an artist,
0:11:34 > 0:11:39'so she's hoping the judges will see her work as art rather than craft.'
0:11:39 > 0:11:42- Hi. Nice to meet you, welcome. - And you, thank you.
0:11:42 > 0:11:47What would it mean to you if you got to the exhibition and you sold?
0:11:47 > 0:11:50Clearly someone like you, multi-successful, multi-rich, you don't need the money?
0:11:50 > 0:11:53Er, yeah! Yeah! Always need the money!
0:11:53 > 0:11:56I have sold big pieces, but not as big as this,
0:11:56 > 0:11:58so it would be good to sell it.
0:11:58 > 0:12:00And what would you do with the money?
0:12:00 > 0:12:02I might buy a boat.
0:12:02 > 0:12:05- Do you mean a speedboat or something? - No. Well, a boat to live on.
0:12:05 > 0:12:09- Ah. Do you live on a boat now? - I do.- But you fancy a bigger one?
0:12:09 > 0:12:13- It doesn't belong to me. - So you're renting it and you'd like to buy your own?- Yeah, yeah.
0:12:13 > 0:12:15- Ooh, what a lovely dream.- Mmm.
0:12:15 > 0:12:18- OK, I know you're nervous...- Yes. - ..and I do feel for you.- Thank you.
0:12:18 > 0:12:22- The judges are through that door there. Good luck!- Thank you.
0:12:25 > 0:12:30Abigail has shown her silverwork in craft centres and trade fairs
0:12:30 > 0:12:34in both the UK and abroad, and her work already commands a high price.
0:12:34 > 0:12:38But she now wants to break into the fine art market.
0:12:41 > 0:12:45- Abigail, hello.- Hi.- Welcome to the Hanging Committee.- Thank you.
0:12:45 > 0:12:48- Please tell us about your work. - This piece is called Isis.
0:12:48 > 0:12:53It's hammer-formed from a disc of fine silver.
0:12:53 > 0:12:56So it starts life as a flat sheet.
0:12:56 > 0:12:59It's all manipulated by hand using hammers.
0:12:59 > 0:13:04My initial source of inspiration is the female form,
0:13:04 > 0:13:09so I aim to portray areas of the body that aren't normally thought of
0:13:09 > 0:13:11as an obvious place to look,
0:13:11 > 0:13:16and to portray sensuality and femininity.
0:13:16 > 0:13:18And what price do you put on this?
0:13:18 > 0:13:22- This is 18,500. - We'll come and take a closer look.
0:13:27 > 0:13:30I suspect Abigail will have to justify that price tag.
0:13:30 > 0:13:33If she gets through and manages to sell this piece,
0:13:33 > 0:13:37she'll be one step closer to buying that boat home she wants.
0:13:37 > 0:13:40But do the judges believe it's worth such a large amount of money?
0:13:50 > 0:13:54- £18,500 - that seems a lot.- Mm-hm.
0:13:54 > 0:13:58Can you explain WHY it's that price?
0:13:58 > 0:14:02It has a significant quantity of silver in it,
0:14:02 > 0:14:04which obviously has an intrinsic value in itself.
0:14:04 > 0:14:08What was the raw material of the silver? What did that cost?
0:14:08 > 0:14:09- It cost £3,000.- Oh.
0:14:09 > 0:14:14And do you sell works at roughly this price?
0:14:14 > 0:14:16This is the largest piece I've made, to date.
0:14:16 > 0:14:19So what's your average selling price?
0:14:19 > 0:14:24Oh, well, I go from £750 up to this price,
0:14:24 > 0:14:27but previously I've sold pieces for 10,000.
0:14:27 > 0:14:3110,000. So although this is significantly more,
0:14:31 > 0:14:33- this is a significantly bigger piece?- Mm-hm.
0:14:33 > 0:14:36The judges seem to have some reservations
0:14:36 > 0:14:39about Abigail's valuation of her sculpture.
0:14:39 > 0:14:41But let's get down to the nitty-gritty here.
0:14:41 > 0:14:44Is it art or is it craft?
0:14:44 > 0:14:48Abigail, let me play devil's advocate here.
0:14:48 > 0:14:52Why is this more than a very pricey bowl with a name?
0:14:54 > 0:14:58Erm, because of the sculptural form,
0:14:58 > 0:15:03and I think it's to do with the way I feel when I make the work.
0:15:03 > 0:15:06I don't have a design before I start.
0:15:06 > 0:15:09I have a rough idea of where I'm going to place lines on the metal,
0:15:09 > 0:15:13and then after that I work intuitively as I'm going along,
0:15:13 > 0:15:16so it's drawing in metal.
0:15:16 > 0:15:19If a surrealist artist had carved that from stone,
0:15:19 > 0:15:23I don't think we'd be questioning whether it was art, would we?
0:15:23 > 0:15:25My problem is the material.
0:15:25 > 0:15:30I kind of associate silver with opulence
0:15:30 > 0:15:33and vulgarity, almost,
0:15:33 > 0:15:35and seeing something like that made of silver
0:15:35 > 0:15:39makes me think of rather vulgarly rich people's houses,
0:15:39 > 0:15:42where you see that kind of thing prominently on display.
0:15:42 > 0:15:45Possibly the issue here is that
0:15:45 > 0:15:50we do associate silver with many things that are precious.
0:15:50 > 0:15:53You and I both have silver necklaces, for example.
0:15:53 > 0:15:57So there are things working against it as a sculptural form
0:15:57 > 0:15:59that are connected with the material.
0:15:59 > 0:16:02I think that is beautifully, beautifully made.
0:16:02 > 0:16:05It's lovingly made, that piece.
0:16:05 > 0:16:10But it's in a material which is associated with jewellery,
0:16:10 > 0:16:13which is a form of decoration,
0:16:13 > 0:16:17and I can't get past the fact that this is a very decorative object.
0:16:19 > 0:16:22Is it enough to be, to be art? I don't know.
0:16:22 > 0:16:26I think I'd just walk by it every day, if I owned it,
0:16:26 > 0:16:29and see it as a bowl made of bums.
0:16:30 > 0:16:32Go and wash your mouth out, Roy!
0:16:32 > 0:16:36At least David recognised that it's beautiful and lovingly made.
0:16:36 > 0:16:40But will this be enough to get Abigail a place at the exhibition,
0:16:40 > 0:16:42and the new houseboat she wants?
0:16:42 > 0:16:47I really do want to break free of my prejudices, but I don't feel I can at this instance.
0:16:47 > 0:16:49It's a no from me, I'm afraid.
0:16:51 > 0:16:52David?
0:16:56 > 0:16:57No.
0:17:03 > 0:17:07I'm on a bit of a knife-edge. I think you can see a lot of us are.
0:17:07 > 0:17:11But I'm going to go with my gut instinct, and that's no.
0:17:11 > 0:17:15Abigail, I'm so sorry. We think you're a fabulous silver-worker,
0:17:15 > 0:17:19but sadly not quite right for this exhibition.
0:17:20 > 0:17:22Thank you.
0:17:22 > 0:17:26'Abigail's mission to convince the panel that her silverware
0:17:26 > 0:17:30'deserves a place in their fine art exhibition has failed.'
0:17:30 > 0:17:34I can see you're slightly emotional about that. Did that hurt?
0:17:34 > 0:17:38- It did hurt.- Yeah? Because you were trying...
0:17:38 > 0:17:40so hard. Are you all right?
0:17:40 > 0:17:43I feel for you. I think we've got a tissue somewhere in a minute.
0:17:43 > 0:17:48Do you think their views are harsh? Do you think they're unfair? How do you feel about it?
0:17:48 > 0:17:50I think they are prejudiced against the material.
0:17:50 > 0:17:53People have a traditional view of what silversmithing is,
0:17:53 > 0:17:57and are not prepared to see anything other than that.
0:17:57 > 0:18:01It's wonderful to see someone so emotional about their work,
0:18:01 > 0:18:05because it gives everybody an impression back at home...
0:18:05 > 0:18:08how much you invest in your work.
0:18:08 > 0:18:12Oh, it's all-consuming. It is... It's everything.
0:18:12 > 0:18:13I was always going to be an artist,
0:18:13 > 0:18:16and it just happens that silver is the material
0:18:16 > 0:18:18I chose to be an artist in.
0:18:18 > 0:18:22And it's like showing someone your soul when you show them your work.
0:18:22 > 0:18:25I hope we haven't put you off, I hope you'll carry on fighting.
0:18:25 > 0:18:28Oh, I'll never stop doing what I'm doing. But...
0:18:28 > 0:18:30maybe I won't be showing it in a fine art context.
0:18:35 > 0:18:38Artists arrived in their droves
0:18:38 > 0:18:41to present their work to the Hanging Committee.
0:18:41 > 0:18:43But the judges' standards were exceptionally high,
0:18:43 > 0:18:45and not everybody made it through.
0:18:45 > 0:18:49Former science teacher-turned-artist, Jenny Urquhart,
0:18:49 > 0:18:53presented her painting of St Ives in Cornwall.
0:18:53 > 0:18:55It's a very special painting to me
0:18:55 > 0:18:58because it's basically my first painting since GCSE Art.
0:18:58 > 0:19:02David was in no doubt about the painting's commercial appeal.
0:19:02 > 0:19:07I don't doubt for one minute that you couldn't paint that same picture 50 times
0:19:07 > 0:19:10and sell it 50 times in one summer.
0:19:10 > 0:19:15- But Charlotte was unmoved. - I think this is an incredibly emotional picture for you,
0:19:15 > 0:19:19and I can see why, but I'm not sure that emotion translates to us,
0:19:19 > 0:19:21and why should it?
0:19:21 > 0:19:24Paula Trower wanted £1,500
0:19:24 > 0:19:27for her bronze sculpture of a seashell.
0:19:27 > 0:19:30So what I wanted to do was...
0:19:30 > 0:19:34bring the beauty of the inner part of that shell
0:19:34 > 0:19:37to the attention of the viewer.
0:19:37 > 0:19:41But while Charlotte acknowledged the skill involved...
0:19:41 > 0:19:45Technically, you're a very gifted sculptor and you've created a work that's very well done.
0:19:45 > 0:19:47..David found it ornamental.
0:19:47 > 0:19:49It looks a bit like trinketry.
0:19:49 > 0:19:52Take a few chances,
0:19:52 > 0:19:54don't be so polite.
0:19:54 > 0:19:56No.
0:19:57 > 0:19:59Professional photographer Marc Wilson
0:19:59 > 0:20:01went up before the judges with this photograph
0:20:01 > 0:20:04of a former coastal military defence in Dorset.
0:20:04 > 0:20:06It was very important to me
0:20:06 > 0:20:09not to try and glamorise the objects, themselves individuals,
0:20:09 > 0:20:12which is why I've shot it in the way I've shot it, with the lighting.
0:20:12 > 0:20:15Charlotte's feedback was encouraging.
0:20:15 > 0:20:17It feels like the work of a very mature,
0:20:17 > 0:20:21sophisticated photographer, just in terms of the composition.
0:20:21 > 0:20:26And I do have a very emotional response to it in a way.
0:20:26 > 0:20:29The quiet poetry of the image, beyond the war,
0:20:29 > 0:20:32about how all our lives will be passing.
0:20:32 > 0:20:34I like it. It's a yes from me.
0:20:34 > 0:20:36But David didn't share her enthusiasm.
0:20:36 > 0:20:43You are very competent, and a thoughtful documentary photographer.
0:20:43 > 0:20:46But this is a boring image, so I'm gonna say no.
0:20:52 > 0:20:55Next to face the Hanging Committee at Eltham Palace
0:20:55 > 0:20:58was 69 year-old Josette Carroll from Lincolnshire.
0:20:58 > 0:21:00Josette retired five years ago,
0:21:00 > 0:21:03after over 30 years working in special needs education,
0:21:03 > 0:21:07and she decided to sign up for a degree in fine art.
0:21:07 > 0:21:09'But this was no sudden decision.
0:21:09 > 0:21:12'Her passion for art actually started when she was just 16.'
0:21:12 > 0:21:14Hello, Josette. Lovely to meet you.
0:21:14 > 0:21:16Hi, nice to meet you too.
0:21:16 > 0:21:20What happened was that in 1959, when I left school, I got,
0:21:20 > 0:21:23I won a scholarship to the Hornsey College of Art.
0:21:23 > 0:21:26I spent a year there, until my father discouraged me from that,
0:21:26 > 0:21:30because he thought it was too frivolous a pursuit for a young girl.
0:21:30 > 0:21:32- You know, I should get a proper job. - Did that hurt?
0:21:32 > 0:21:35Did you really desperately want to be an artist then?
0:21:35 > 0:21:38When I was young, I used to always draw, so I was quite disappointed.
0:21:38 > 0:21:43So, you've got the Show Me The Monet judges waiting to see you now.
0:21:43 > 0:21:45- Yes.- Three of them.- Yes.
0:21:45 > 0:21:48How will you find that experience? Because they can be quite tough.
0:21:48 > 0:21:52Well, as long as they're, sort of quite constructive
0:21:52 > 0:21:55about what they say, I'm not, you know, I don't mind.
0:21:55 > 0:21:57And I'm quite, I really do, in a way I'm looking forward to their,
0:21:57 > 0:22:00to their comments, you know.
0:22:00 > 0:22:03It's nice to have this opportunity to actually get feedback from,
0:22:03 > 0:22:04from people who are so experienced.
0:22:04 > 0:22:07What would it mean to you to be at our exhibition?
0:22:07 > 0:22:08Oh, fantastic.
0:22:08 > 0:22:11I would feel as if I've kind of like, made it.
0:22:11 > 0:22:15And I'd say, "Yes, Dad. Did it!"
0:22:15 > 0:22:17Well, I wish you all the luck in the world.
0:22:17 > 0:22:19I love this rebel with a cause now.
0:22:19 > 0:22:20Thank you very much.
0:22:20 > 0:22:23Away you go. The judges are through that door.
0:22:23 > 0:22:26- Thank you very much.- I'll see you afterwards.- Thanks. Bye.
0:22:29 > 0:22:3250 years after her artistic hopes were dashed,
0:22:32 > 0:22:35Josette is getting a second bite at the cherry.
0:22:35 > 0:22:39And she's determined to make a success of things this time round.
0:22:39 > 0:22:41If she gets through to the exhibition, and sells her work,
0:22:41 > 0:22:44she's decided to treat herself to a trip to Berlin.
0:22:44 > 0:22:48'I'm feeling a little bit apprehensive
0:22:48 > 0:22:52'and perhaps a bit nervous about going in front of the judges.'
0:22:59 > 0:23:01- Hello, Josette.- Hi.
0:23:01 > 0:23:04Would you tell us about your work?
0:23:04 > 0:23:06Yes, this is called Yard Bird,
0:23:06 > 0:23:09and it's made from salvaged corrugated cardboard,
0:23:09 > 0:23:13which I retrieved from markets and supermarkets.
0:23:13 > 0:23:17And what I do is cut out the base of each one
0:23:17 > 0:23:23and I laminate them with wood glue, and I glue together and have a block,
0:23:23 > 0:23:26and then with a saw, I cut the block,
0:23:26 > 0:23:30to make it a nice neat, sort of block, like a block of wood or stone.
0:23:30 > 0:23:33And then I make some sketches of whatever I want to do
0:23:33 > 0:23:35and go in with the saw.
0:23:35 > 0:23:38Some of the cardboard base, they have, they have holes in them.
0:23:38 > 0:23:41And this particular one had about six holes in them.
0:23:41 > 0:23:44And I thought I wanted to incorporate that
0:23:44 > 0:23:47- into the sculpture, basically. - Thank you very much.
0:23:47 > 0:23:50And how much will this set somebody back?
0:23:50 > 0:23:52About 300.
0:23:52 > 0:23:55- £300. Thank you very much. We'll come and have a look.- Thanks.
0:23:58 > 0:24:01Josette only completed her degree two years ago,
0:24:01 > 0:24:05so she's very new to the highly competitive world of fine art.
0:24:05 > 0:24:08Will her sculpture impress the judges enough
0:24:08 > 0:24:11to secure her a place at The Mall Galleries?
0:24:14 > 0:24:18- Hello. - THEY LAUGH
0:24:23 > 0:24:26This is serious business.
0:24:41 > 0:24:45Josette, I think it's lovely to see sculptors and artists
0:24:45 > 0:24:46working with new materials.
0:24:46 > 0:24:49And I think you've worked this material really well.
0:24:49 > 0:24:54I do like the way we can see through the cardboard.
0:24:54 > 0:24:56The holes cut through allow us to see the depth of it.
0:24:56 > 0:24:58The brass rods connecting it
0:24:58 > 0:25:02allow us to appreciate that tension between solidity and air.
0:25:02 > 0:25:05On technical ability, I give you a big gold star.
0:25:06 > 0:25:08Mmm, praise indeed.
0:25:08 > 0:25:10But has Josette produced something new and original?
0:25:10 > 0:25:13Something to make the judges sit up and take notice?
0:25:16 > 0:25:21I associate this style with the British artists of the 1930s,
0:25:21 > 0:25:25who used simplified shapes
0:25:25 > 0:25:30and tied their forms together in some way by string.
0:25:30 > 0:25:32Is that not where yours came from too?
0:25:32 > 0:25:37Oh, yes, yes. I did explore, I mean, lots of, kind of, movements.
0:25:37 > 0:25:40I think the form of the sculpture
0:25:40 > 0:25:42shows you're still working through your heroes and heroines,
0:25:42 > 0:25:46particularly in the form of Barbara Hepworth,
0:25:46 > 0:25:48who used the string device
0:25:48 > 0:25:51to energise her work so successfully.
0:25:51 > 0:25:55So, on originality, I think it's slightly lacking.
0:25:55 > 0:25:59But if you look at the inspiration for those works in Garbo,
0:25:59 > 0:26:03Hepworth, Moore, Pevsner, and any number of artists who used this,
0:26:03 > 0:26:06they're very much more fluid in shape.
0:26:06 > 0:26:10Those two, sort of, rather meagre looking holes
0:26:10 > 0:26:13cut through the wood, they look to me as though they ought to give us
0:26:13 > 0:26:15access to the other side.
0:26:15 > 0:26:17That comes down to Josette saying that they're found holes.
0:26:17 > 0:26:21- Yes.- They're the holes that she found in the bottom of the box.
0:26:21 > 0:26:23- Why didn't you make them a bit bigger?- Yeah, that's...
0:26:23 > 0:26:27- Pardon?- Why didn't you make them a bit bigger?
0:26:27 > 0:26:30The challenge was to use the material, the raw material as it was.
0:26:30 > 0:26:31That was my challenge.
0:26:31 > 0:26:35And also my challenge was to link the geometric pieces together,
0:26:35 > 0:26:38hence the metal bars as well. It wasn't just based on artists.
0:26:38 > 0:26:43It was also based on my own intuitive kind of feeling.
0:26:43 > 0:26:46I'd like to talk about the price, Josette. Because it's very cheap.
0:26:46 > 0:26:51- Oh, yes.- I mean I presume it's a relatively modest price
0:26:51 > 0:26:53because the material is, is free.
0:26:53 > 0:26:57Locally, from Stanford, Lincolnshire, where I'm at,
0:26:57 > 0:27:00it's a sort of reasonable price. I've sold work round about 285.
0:27:00 > 0:27:01I did 300.
0:27:01 > 0:27:05It's the kind of work that you could make an edition of,
0:27:05 > 0:27:09because it doesn't involve a great deal of unique execution
0:27:09 > 0:27:11for each piece. You can cut the same pieces again
0:27:11 > 0:27:14and you can more or less recreate that,
0:27:14 > 0:27:15that's what I'm burbling about.
0:27:15 > 0:27:19But it wasn't just, I didn't just piece it together...
0:27:19 > 0:27:22No, we're saying when you get a form that works for you,
0:27:22 > 0:27:26you could actually copy it using the materials you have.
0:27:26 > 0:27:29So you could sell for 300, but you could sell 10 of them
0:27:29 > 0:27:33and make a lot more from this form, if you wanted to.
0:27:33 > 0:27:35I suppose you could exact, you could replicate it.
0:27:35 > 0:27:37But it never occurred to me.
0:27:37 > 0:27:40Some constructive advice there from the judges.
0:27:40 > 0:27:44But has the sculpture connected with them on an emotional level?
0:27:45 > 0:27:48Unfortunately, emotionally I'm not there yet.
0:27:48 > 0:27:50It feels like I'm walking through a history lesson too much,
0:27:50 > 0:27:54without the punch, without drama.
0:27:54 > 0:27:56So Roy feels he's seen it all before
0:27:56 > 0:28:00in the work of sculptors from the past.
0:28:00 > 0:28:03This is a work about form and beauty,
0:28:03 > 0:28:05and I don't feel an emotional connection with it,
0:28:05 > 0:28:08but I do appreciate what you've done with the material.
0:28:10 > 0:28:15Josette, I get too strong an impression of mimicry about this.
0:28:15 > 0:28:20Somebody flicking through magazines looking for styles and so forth.
0:28:20 > 0:28:24If you're going to compete with the best British artists
0:28:24 > 0:28:29of the last century, then you have to make sure it's really good.
0:28:29 > 0:28:30In technique,
0:28:30 > 0:28:34it doesn't seem to me that you're straining yourself that much,
0:28:34 > 0:28:36sticking these blocks of cardboard together and...
0:28:36 > 0:28:40I assure you there's a lot more than just sticking them together.
0:28:40 > 0:28:43It's time for the judges to cast their votes.
0:28:43 > 0:28:47Can they see a place for Josette's sculpture in their exhibition?
0:28:53 > 0:28:55Roy?
0:28:55 > 0:28:59- Josette, it's a no, I'm afraid. - Charlotte?
0:29:02 > 0:29:04No.
0:29:06 > 0:29:09It's a no from me as well.
0:29:09 > 0:29:13- But do continue your studies... - Yes, I will.- ..and progress.
0:29:13 > 0:29:15- I will.- Thanks for showing it to us. - Thank you very much.
0:29:15 > 0:29:16You're welcome.
0:29:16 > 0:29:20It's the end of the line for Josette and her sculpture, Yard Bird,
0:29:20 > 0:29:25which will wing its way back home instead of to The Mall Galleries.
0:29:30 > 0:29:32- Hi, Josette.- Hello.- Commiserations.
0:29:32 > 0:29:35- Never mind.- How was that for you?
0:29:35 > 0:29:38Oh, it's OK. That's their opinion, so that's fine. I mean,
0:29:38 > 0:29:42the feedback I have from perhaps the lay person
0:29:42 > 0:29:45is the fact they're very original, but they didn't think it was.
0:29:45 > 0:29:49They were implying it was just from the copy book or something...
0:29:49 > 0:29:51- Mimicry, was it, or something?- Yes.
0:29:51 > 0:29:53I don't think that was very nice, really,
0:29:53 > 0:29:57because I don't feel... For me, I've explored lots and lots of ideas
0:29:57 > 0:30:01and things like that, so I wasn't copying anyone in particular.
0:30:01 > 0:30:03I told them what influenced me, but there we are.
0:30:03 > 0:30:05All artists are influenced by somebody.
0:30:05 > 0:30:09The only thing that annoys me, is the fact they,
0:30:09 > 0:30:11it was suggested I just knocked it together.
0:30:11 > 0:30:13Which certainly wasn't the case, you know.
0:30:13 > 0:30:15Is there anything that you'll take from today?
0:30:15 > 0:30:18Something that the judges said that you might take on board
0:30:18 > 0:30:20next time you're working?
0:30:20 > 0:30:23Well, it implied the fact that I should still pursue it
0:30:23 > 0:30:24and still continue, and I shall do that.
0:30:24 > 0:30:27I shall still continue to, kind of, explore.
0:30:27 > 0:30:31And I'm not going to stop there. No way.
0:30:31 > 0:30:32That's what I like to hear.
0:30:32 > 0:30:34Definitely not.
0:30:34 > 0:30:35It was really lovely to meet you.
0:30:35 > 0:30:37- I'm sorry it didn't happen this time.- Never mind.
0:30:37 > 0:30:39It was lovely meeting you, Josette.
0:30:39 > 0:30:41- Thank you.- Away you go.- Thanks, bye.
0:30:46 > 0:30:49Next to face the Hanging Committee
0:30:49 > 0:30:52was 24 year-old Timothy Gatenby from London.
0:30:52 > 0:30:54'Timothy is so passionate about the Old Masters
0:30:54 > 0:30:57'that he followed in their footsteps and went to Florence
0:30:57 > 0:31:00'to learn to paint. Now he's back in London,
0:31:00 > 0:31:02'where he's hoping to make a living
0:31:02 > 0:31:05from his traditional approach to art.'
0:31:05 > 0:31:07- Timothy, welcome. Nice to meet you. - You too.
0:31:07 > 0:31:09So try and paint a picture for me.
0:31:09 > 0:31:10What's your normal day? Where do you work?
0:31:10 > 0:31:16I have a studio at my gran's house. I have the whole of the top floor.
0:31:16 > 0:31:18Which is great, because I get to see her every day.
0:31:18 > 0:31:20We constantly have coffee breaks together.
0:31:20 > 0:31:22What does she think of your work?
0:31:22 > 0:31:25She's almost blind. So she, she pretends she can see it.
0:31:25 > 0:31:28- THEY LAUGH - As grannies do.
0:31:28 > 0:31:30Like, wanders up to it says, "Oh, I like this one."
0:31:30 > 0:31:32- HE LAUGHS - Wonderful.
0:31:32 > 0:31:36What would it mean to get through to the Show Me The Monet exhibition?
0:31:36 > 0:31:37Oh, it would be great,
0:31:37 > 0:31:41because I hope people enjoy looking at portraiture still,
0:31:41 > 0:31:43and don't see it as portraiture,
0:31:43 > 0:31:48but they can see it as a work of art on its own, really.
0:31:48 > 0:31:50What would you do with the money, if you sold?
0:31:50 > 0:31:53Well, actually, my girlfriend's moving to California.
0:31:53 > 0:31:55I'd love to go with her.
0:31:55 > 0:31:57So I'd put it towards going out there.
0:31:57 > 0:32:01Well, I wish you the best of luck. The judges await through that door.
0:32:01 > 0:32:04I feel sorry for your granny if you go off to California,
0:32:04 > 0:32:06- but never mind. Away you go. Good luck.- Thank you.
0:32:16 > 0:32:19Timothy is pinning his hopes on this painting.
0:32:19 > 0:32:21Will it appeal to the judges and especially to Roy,
0:32:21 > 0:32:23who's an expert in the Old Masters?
0:32:34 > 0:32:37Timothy, hello. Welcome to the Hanging Committee.
0:32:37 > 0:32:41- Would you like to explain your painting?- This is a painting of my friend, Andrea.
0:32:41 > 0:32:42He's a jeweller in Florence.
0:32:42 > 0:32:44While I was living out there,
0:32:44 > 0:32:48I painted this portrait of him because,
0:32:48 > 0:32:49er, we got along really well.
0:32:49 > 0:32:53I thought it would be interesting to get to know him better.
0:32:53 > 0:32:57What I was investigating with this painting is how the light falls
0:32:57 > 0:33:01on a 3D form and how to represent it in a 2D space...
0:33:02 > 0:33:05..as best as I could.
0:33:05 > 0:33:08OK, that's great. Can you tell us what price you put on this picture?
0:33:08 > 0:33:12I think I'd price this one at about £2,000.
0:33:12 > 0:33:14Thank you. I think we should have a closer look at it.
0:33:17 > 0:33:20That's a pretty confident valuation.
0:33:20 > 0:33:22But to sell his portrait and make enough cash
0:33:22 > 0:33:24to go and live with his girlfriend in California,
0:33:24 > 0:33:27Timothy first needs to get a place at the exhibition.
0:33:27 > 0:33:30So, can the judges see this portrait
0:33:30 > 0:33:33hanging on the wall at The Mall Galleries?
0:33:43 > 0:33:47You know, I would expect to see this portrait on the walls
0:33:47 > 0:33:50of a museum of crime or something.
0:33:50 > 0:33:53I mean, he, with a caption underneath saying,
0:33:53 > 0:33:58"This is Andrea, he dismembered a woman on the Bath train
0:33:58 > 0:34:01"and threw her parts out of the window," or something like that.
0:34:01 > 0:34:03GENTLE LAUGHTER
0:34:03 > 0:34:06Wow. Who knew David had such a dark imagination?
0:34:06 > 0:34:09Perhaps our resident Old Masters expert
0:34:09 > 0:34:12will have a slightly less sinister take on it.
0:34:13 > 0:34:18Timothy, the clothes Andrea is wearing, the hat and the jacket,
0:34:18 > 0:34:21they seem to give more than a slight nod to Rembrandt.
0:34:21 > 0:34:23Were these the clothes he wore
0:34:23 > 0:34:26or were you trying to make the viewer go back a few hundred years?
0:34:26 > 0:34:28No, I, like you said,
0:34:28 > 0:34:31I really like that idea of a sort of self-conscious piece of work,
0:34:31 > 0:34:36knowing that it's really respecting history, but also building upon it.
0:34:36 > 0:34:38He's a person who exists now.
0:34:38 > 0:34:42So I'm not painting a pastiche or anything of the past.
0:34:42 > 0:34:44I'm painting what's happening right now.
0:34:44 > 0:34:46So did you give him these clothes as props, or...
0:34:46 > 0:34:48- Yes.- You did? Really?- Yes.
0:34:48 > 0:34:49I really like the way
0:34:49 > 0:34:53you are working through that whole tradition.
0:34:53 > 0:34:55We can see that tradition,
0:34:55 > 0:34:57but we can also see a contemporary painting here,
0:34:57 > 0:35:00and I think that's really important.
0:35:00 > 0:35:02I think your style has quite a long way to go
0:35:02 > 0:35:06in terms of, there's some details like the eyes are blank,
0:35:06 > 0:35:09are a bit dead for me. But I think you've got promise.
0:35:09 > 0:35:12I like Andrea as a, as a person.
0:35:12 > 0:35:15I could see myself knowing him, sitting in a bar in Florence,
0:35:15 > 0:35:17drinking into the wee hours, talking to him.
0:35:17 > 0:35:19I don't get the mass murderer feel from him at all.
0:35:19 > 0:35:22I get a roguish character, with a lot to say and a lot of stories.
0:35:22 > 0:35:26But I think there is some, a little bit extra to go.
0:35:28 > 0:35:30So, mass murderer or friendly rogue?
0:35:30 > 0:35:33Andrea has certainly piqued the judges' imaginations.
0:35:33 > 0:35:37But they feel there's room for improvement in Timothy's technique.
0:35:37 > 0:35:41I have no idea which way this one's going to go.
0:35:45 > 0:35:46I like this mug shot.
0:35:49 > 0:35:50It's very conventional.
0:35:50 > 0:35:54Technique will only improve, the older you get.
0:36:00 > 0:36:02It's worth two grand, yeah.
0:36:03 > 0:36:05That's nice of you to say.
0:36:11 > 0:36:13Timothy, um...
0:36:13 > 0:36:16- it is a yes from me.- OK, thank you.
0:36:16 > 0:36:20Timothy, I love what you're doing and how you're doing it
0:36:20 > 0:36:22and I think you should continue this way,
0:36:22 > 0:36:25because I think you could improve a little bit. But absolutely, yes.
0:36:25 > 0:36:27- Oh, great.- That's really good. - Thank you very much.
0:36:29 > 0:36:30It's a triumph for Timothy.
0:36:30 > 0:36:32His Florentine jeweller, Andrea,
0:36:32 > 0:36:35will be gracing the walls of The Mall Galleries.
0:36:35 > 0:36:39The question now is, will Timothy be able to sell this painting
0:36:39 > 0:36:42so he can follow his girlfriend to California?
0:36:51 > 0:36:53The Mall Galleries, central London.
0:36:53 > 0:36:55And Timothy's painting
0:36:55 > 0:36:59took its place amongst the other successful artworks.
0:36:59 > 0:37:02And Timothy was in his element.
0:37:02 > 0:37:05It's a really good gallery to be exhibiting in.
0:37:05 > 0:37:09It's a really nice location as well, right in the middle of London.
0:37:09 > 0:37:13And his traditional style was quite a hit.
0:37:13 > 0:37:17I particularly like the old gentleman with the hat, behind you.
0:37:17 > 0:37:21I think the way he's framed that face,
0:37:21 > 0:37:22even the dark of his ears
0:37:22 > 0:37:27and his cheekbones emphasises this, the light on his face.
0:37:27 > 0:37:28There's a guy called Tim Gatenby
0:37:28 > 0:37:31and I looked at his picture and thought,
0:37:31 > 0:37:33"That should be hanging in the National Portrait Gallery."
0:37:33 > 0:37:37But would anyone want to BUY Timothy's Florentine portrait?
0:37:37 > 0:37:39Encouraged by the judges' positive comments,
0:37:39 > 0:37:43he upped his asking price to £2,250.
0:37:43 > 0:37:47Any offers would be subject to a 10% commission,
0:37:47 > 0:37:50to be paid to an independent agent.
0:37:50 > 0:37:51As the exhibition came to an end,
0:37:51 > 0:37:54it was time for me to reveal to Timothy the results
0:37:54 > 0:37:55of the secret bids.
0:37:58 > 0:38:01So, did you smell a bidder? Did you smell that someone might..?
0:38:01 > 0:38:04I wasn't sure. I think a lot of people were interested in possibly
0:38:04 > 0:38:07getting some more portrait commissions off me.
0:38:07 > 0:38:10I'm not sure about this piece. A lot of people really liked it.
0:38:13 > 0:38:14OK.
0:38:16 > 0:38:22So, you wanted £2,250 for this wonderful painting.
0:38:32 > 0:38:36But sadly, Timothy, you didn't get any offers on the night.
0:38:36 > 0:38:37- Oh, no.- So I'm very, very sorry.
0:38:37 > 0:38:40Big round of applause for you.
0:38:40 > 0:38:42APPLAUSE
0:38:42 > 0:38:45'It's not all bad news for Timothy, though,
0:38:45 > 0:38:48'because whilst he didn't sell this time,
0:38:48 > 0:38:51'since the exhibition, he has displayed and sold his work
0:38:51 > 0:38:53'at the Royal Academy Summer Exhibition.
0:38:53 > 0:38:56'He'll also exhibit at the National Portrait Gallery later this year.
0:38:56 > 0:39:00'And he's still only at the start of his career.'
0:39:04 > 0:39:08Well, this is the last in our current series of Show Me The Monet.
0:39:08 > 0:39:11And it's been a rollercoaster ride of highs and lows,
0:39:11 > 0:39:13triumphs and disappointments.
0:39:13 > 0:39:15Let's hear it for Northwich, yes.
0:39:15 > 0:39:18Oh, thank you!
0:39:18 > 0:39:20I'm extremely disappointed.
0:39:23 > 0:39:25We received an amazing array of art,
0:39:25 > 0:39:28from the traditional, to the abstract,
0:39:28 > 0:39:30to the slightly left of field.
0:39:30 > 0:39:34This is the Mona Lisa in literary form.
0:39:34 > 0:39:37Basically what you see are some cocktail umbrellas,
0:39:37 > 0:39:41and there's the purple thing, which I found in a skip,
0:39:41 > 0:39:44a paper doily and there's a frame from a hand-held mirror.
0:39:44 > 0:39:48In essence, it's a pile of twigs.
0:39:48 > 0:39:51It was a nerve-racking moment, standing in front of the judges,
0:39:51 > 0:39:53and some found themselves lost for words.
0:39:53 > 0:39:58For this piece I wanted to... Um, how did I start?
0:39:58 > 0:40:02What I was aiming to do with this piece was to...
0:40:02 > 0:40:05I'm sorry.
0:40:05 > 0:40:06HE SIGHS
0:40:06 > 0:40:08(That's fine.)
0:40:08 > 0:40:10Sorry, I've completely forgotten my line.
0:40:10 > 0:40:13Pretty nervous, sorry. Can I start again?
0:40:13 > 0:40:14Take your time.
0:40:14 > 0:40:17But others had plenty to say for themselves.
0:40:17 > 0:40:21I think art should be about war, sex, death and religion,
0:40:21 > 0:40:25and this is what I'm aspiring to make with this piece of work.
0:40:25 > 0:40:28I don't think that you feel that anything can be more than an idea.
0:40:28 > 0:40:31But for you to close off to that is just insulting.
0:40:31 > 0:40:34I think you're harming the contemporary art world.
0:40:34 > 0:40:35I think YOU are.
0:40:35 > 0:40:39I think it's people like you who get contemporary art a bad name.
0:40:39 > 0:40:42But the aim of the game was to discover some exceptional artists,
0:40:42 > 0:40:45and the judges weren't disappointed.
0:40:45 > 0:40:49Whoever bought two of your paintings from this series for the university,
0:40:49 > 0:40:50I think they had a very good eye.
0:40:50 > 0:40:52I think you're one to watch for the future.
0:40:52 > 0:40:54If you maintain this level of work,
0:40:54 > 0:40:58- you will be in every collection I can think of.- Thank you.
0:40:58 > 0:41:02Charles, this is why I sit on this panel, to find artists like you.
0:41:02 > 0:41:05Others didn't quite get the response they were hoping for.
0:41:05 > 0:41:09It's terrible. Absolutely terrible.
0:41:09 > 0:41:12Who is going to buy an artwork
0:41:12 > 0:41:16made from second-hand cigarette butt filters?
0:41:16 > 0:41:20I honestly think it would disgrace the walls of a community centre.
0:41:20 > 0:41:22But for those who did make it to the exhibition,
0:41:22 > 0:41:24it was a dream come true.
0:41:24 > 0:41:27Yes from me. That's three bells. You've won the jackpot.
0:41:27 > 0:41:29Woo!
0:41:29 > 0:41:33- Absolutely yes, well done. Congratulations.- Thank you.
0:41:33 > 0:41:36For so many reasons, I think you deserve to go through.
0:41:36 > 0:41:39- So it's a yes from me.- Thank you. - Congratulations.
0:41:39 > 0:41:42Three yeses, Shona. We'll be seeing you at The Mall Galleries.
0:41:42 > 0:41:44Thank you very, very much.
0:41:44 > 0:41:45And some sold their art
0:41:45 > 0:41:47for more than they ever dreamt it could be worth.
0:41:47 > 0:41:49- You've got two offers.- Ooh, God.
0:41:49 > 0:41:52- Mum's smiling already. - SHE LAUGHS
0:41:52 > 0:41:55- We've got three offers.- Really?!
0:41:55 > 0:41:57Five offers.
0:41:57 > 0:41:59You've got seven offers.
0:41:59 > 0:42:01CROWD: Wow!
0:42:01 > 0:42:02OK, let's get serious now,
0:42:02 > 0:42:05because this is the highest offer we had on the night.
0:42:05 > 0:42:07And it was for...
0:42:09 > 0:42:12..£2,251.
0:42:12 > 0:42:13Very good.
0:42:13 > 0:42:14For £600.
0:42:14 > 0:42:16Wow!
0:42:16 > 0:42:21- For £1,395...- Hey.
0:42:21 > 0:42:23- ..and 95 pence.- Sold.
0:42:23 > 0:42:25This offer...
0:42:28 > 0:42:32..was for £3,950.
0:42:32 > 0:42:33HE LAUGHS
0:42:33 > 0:42:36- Oh, God.- You're a rich man.
0:42:36 > 0:42:38APPLAUSE
0:42:38 > 0:42:39Give him a hug!
0:42:43 > 0:42:46Well, that's it from all of us on Show Me The Monet.
0:42:46 > 0:42:47Goodbye.
0:43:09 > 0:43:12Subtitles by Red Bee Media Ltd