0:00:02 > 0:00:05Britain's top artists make big money. Their works can go for millions.
0:00:05 > 0:00:109.5 million. 10 million. 10.5 million. 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 > 0:00:22The Mall Galleries. Fabulous!
0:00:22 > 0:00:25I've just had a possible Lottery winning moment!
0:00:25 > 0:00:28It could be the start of a different career for me.
0:00:28 > 0:00:31These artists could stand to make some serious cash.
0:00:31 > 0:00:33What valuation do you put on this painting?
0:00:33 > 0:00:35£45,000.
0:00:35 > 0:00:37But first they need the seal of approval
0:00:37 > 0:00:40from three of the art world's toughest critics.
0:00:40 > 0:00:44I honestly think it would disgrace the walls of a community centre.
0:00:44 > 0:00:47Their hopes are in the hands of the Hanging Committee.
0:00:47 > 0:00:49Fantastic piece of work. The best thing I've seen so far.
0:00:49 > 0:00:52I think you're one to watch for the future.
0:00:52 > 0:00:54It's time to Show Me the Monet.
0:00:58 > 0:01:00Hello and welcome to Show Me the Monet.
0:01:00 > 0:01:03Over the past few months, ambitious artists,
0:01:03 > 0:01:05both amateur and professional, have been appearing
0:01:05 > 0:01:08before our rigorous judging panel, the Hanging Committee.
0:01:08 > 0:01:10Their aim, to be selected to show
0:01:10 > 0:01:13and sell their work at our prestigious London exhibition
0:01:13 > 0:01:17at the Mall Galleries, just down the road from Buckingham Palace.
0:01:17 > 0:01:20But to get there, they have to get past
0:01:20 > 0:01:22three of the most demanding critics in the business.
0:01:22 > 0:01:25David Lee is the bad boy of the art world.
0:01:25 > 0:01:28He's the scourge of the art establishment in general,
0:01:28 > 0:01:31and the Turner Prize in particular.
0:01:31 > 0:01:33Good technique through practice is essential.
0:01:33 > 0:01:35Without it, they'll get nowhere.
0:01:35 > 0:01:38Roy Bolton is an expert in Old Masters, who's valued art
0:01:38 > 0:01:41for some of the world's most exclusive auction houses.
0:01:41 > 0:01:44Originality is the backbone of any great artist.
0:01:44 > 0:01:47If it's been done to death already, why should anybody pay attention?
0:01:47 > 0:01:49And contemporary specialist Charlotte Mullins
0:01:49 > 0:01:51has applied her critical eye
0:01:51 > 0:01:54to some of the industry's most prestigious competition.
0:01:54 > 0:01:56Great art has to have emotional impact.
0:01:56 > 0:01:58It has to have the power to move us.
0:01:58 > 0:01:59That's what I'm looking for.
0:01:59 > 0:02:02Thousands of hopeful artists applied,
0:02:02 > 0:02:04but only the very best would be selected
0:02:04 > 0:02:07to show their work at the Mall Galleries.
0:02:09 > 0:02:11I'm going to say yes.
0:02:14 > 0:02:16Coming up on today's programme,
0:02:16 > 0:02:20straight talking judge David goes right for the jugular.
0:02:20 > 0:02:24You can see from Cappadocia that that's a rotten painting.
0:02:24 > 0:02:26And the panel are moved
0:02:26 > 0:02:29by one artist's amazing struggle against adversity.
0:02:29 > 0:02:33It's showing the anger and the frustration of
0:02:33 > 0:02:39not being able to get my words out,
0:02:39 > 0:02:42due to the stroke.
0:02:48 > 0:02:52Eltham Palace, South London, once home to the entire Tudor court,
0:02:52 > 0:02:57and later taken over in the 1930s by society couple
0:02:57 > 0:03:01and great patrons of the art, Stephen and Virginia Courtauld.
0:03:01 > 0:03:04It was here, in the magnificent great hall,
0:03:04 > 0:03:06that the judges set up their Hanging Committee.
0:03:06 > 0:03:08They sat on the dais, where the kings and queens
0:03:08 > 0:03:11of medieval England once dined,
0:03:11 > 0:03:16as artists from all over the country arrived to face the judges.
0:03:17 > 0:03:22First up was former doctor, 57-year-old Feza Erkeller-Yuksel.
0:03:22 > 0:03:26Turkish-born Feza was in the medical profession for 30 years,
0:03:26 > 0:03:30before she took early retirement and became an artist.
0:03:30 > 0:03:32She's no stranger to starting over.
0:03:32 > 0:03:37In the 1980s she was sentenced for eight years imprisonment in Turkey
0:03:37 > 0:03:39for speaking out against the fascist government.
0:03:39 > 0:03:44She fled the country with her family and came to the UK as a refugee.
0:03:44 > 0:03:46And she worked her way up the career ladder to become a consultant.
0:03:46 > 0:03:49Now she wants to make a living from her art.
0:03:49 > 0:03:51- Welcome.- Thank you.
0:03:51 > 0:03:54So what do you want to get out of being on this programme, Show Me The Monet?
0:03:54 > 0:03:59I think it will endorse my new career as a painter.
0:03:59 > 0:04:03- And it will open new doors to me. - You said career.- Yeah, I...
0:04:03 > 0:04:06So it's not a hobby, it's a career, you want to do this professionally?
0:04:06 > 0:04:08- It is not a hobby, yes.- Really? - Yeah.
0:04:08 > 0:04:11- And are you confident?- Yeah.
0:04:11 > 0:04:13- How confident?- Very!
0:04:13 > 0:04:15Oh, I like it! You've convinced me.
0:04:15 > 0:04:18- Yes.- But you've got to convince three judges.- Yeah.
0:04:18 > 0:04:22- Are you OK with being criticised? - I'm tough. I'm tough.
0:04:22 > 0:04:23I've been through a lot!
0:04:23 > 0:04:27I bet you have! Now if you do get to our exhibition...
0:04:27 > 0:04:30- Yeah.- ..And you do sell, what's this going to do for you?
0:04:30 > 0:04:32What do you want to do with the money?
0:04:32 > 0:04:34Well, there are two things I still want to do.
0:04:34 > 0:04:40One is to learn about photography. Also I want to try printing.
0:04:40 > 0:04:42- And it'll get you on those courses?- Yeah.
0:04:42 > 0:04:45- Develop your career. Well, I love your confidence.- Thank you.
0:04:45 > 0:04:48And we wish you the very best of luck. Through those doors there.
0:04:48 > 0:04:52Feza has given up a highly respected career in rheumatology
0:04:52 > 0:04:54to dedicate herself to her passion,
0:04:54 > 0:04:58and she believes she can make money out of her art.
0:04:58 > 0:05:03But will her oil on canvas, entitled The Edge, convince the judges?
0:05:03 > 0:05:07I'm feeling nervous. I haven't slept very well last night.
0:05:07 > 0:05:10I'm scared of one of the judges, David.
0:05:10 > 0:05:12He's a bit cynical and grumpy.
0:05:16 > 0:05:19- Hello, Feza. Welcome to the Hanging Committee.- Thank you.
0:05:19 > 0:05:21Please tell us about your painting.
0:05:21 > 0:05:25My painting is called The Edge. It's an oil landscape from Turkey.
0:05:25 > 0:05:28This is a very unusual area called Cappadocia.
0:05:28 > 0:05:34My grandfather escaped prison, and even death penalty, in 1920,
0:05:34 > 0:05:37when the British occupied Istanbul.
0:05:37 > 0:05:40And he took his five kids and young wife,
0:05:40 > 0:05:43they came back to this area for safety.
0:05:43 > 0:05:4766 years later, I had to flee from Istanbul in a week
0:05:47 > 0:05:49with my three-year-old daughter and husband,
0:05:49 > 0:05:51because of a political problem.
0:05:51 > 0:05:54And then I came to England for refuge.
0:05:56 > 0:05:59The painting is clearly packed with emotional significance for Feza.
0:05:59 > 0:06:03But will it resound with the judges?
0:06:04 > 0:06:07Now, Feza, how much do you want for your painting?
0:06:07 > 0:06:10- £1,900.- Have you sold any work? - But have you sold, yes?
0:06:10 > 0:06:11I've sold five works so far.
0:06:11 > 0:06:16But, so you're not selling regularly in a gallery for £1,900.
0:06:16 > 0:06:20No, I sold one in a charity auction, one in an exhibition,
0:06:20 > 0:06:22and the other to, you know, to people I know.
0:06:22 > 0:06:25How long did it take you?
0:06:25 > 0:06:29- Two months.- How many hours do you think you've worked on it?- Um, 80?
0:06:29 > 0:06:31- 80 hours.- Yes.
0:06:31 > 0:06:33And £1,900 for an unknown artist.
0:06:33 > 0:06:35I don't think you can measure art like that.
0:06:35 > 0:06:39No. But it's just quite a lot for a work by an artist who,
0:06:39 > 0:06:41- by your own admission, is not that well known.- Yes. Yes. Yes.
0:06:41 > 0:06:45If Feza sells her painting, she'll spend the money on photography
0:06:45 > 0:06:47and printing courses.
0:06:47 > 0:06:51But she's never before sold a piece for such a large amount.
0:06:51 > 0:06:54- Could we come and have a closer look?- Please do.- Thank you.
0:06:54 > 0:06:56Feza has fled persecution in Turkey
0:06:56 > 0:07:00and made a success of her life as a doctor in Britain.
0:07:00 > 0:07:03But can she repeat her success in the medical field in
0:07:03 > 0:07:06the much more uncertain world of art?
0:07:06 > 0:07:09The judges are looking for originality, technical skill
0:07:09 > 0:07:11and emotional impact.
0:07:11 > 0:07:14Feza's painting will have to tick all these boxes,
0:07:14 > 0:07:17and she'll need two yeses from the panel
0:07:17 > 0:07:20to get through to the exhibition.
0:07:20 > 0:07:23Part of me thinks that the way you've painted the rocks
0:07:23 > 0:07:26suits the subject really well, it's made them kind of unusual
0:07:26 > 0:07:29- and anthropomorphic, so they almost look alive.- Yes. Yes. Yes.
0:07:29 > 0:07:32Is this your style for all your work?
0:07:32 > 0:07:37I think the curves of a human body is quite similar to these forms,
0:07:37 > 0:07:39and I think that was the landscape
0:07:39 > 0:07:42I saw for 30 years working as a doctor.
0:07:43 > 0:07:46This sinuous form on the right here, I mean, what is it?
0:07:46 > 0:07:49Is it rock? Or is it a path? Is it a piece of cloth?
0:07:49 > 0:07:52This is a...this is a path actually.
0:07:52 > 0:07:53Well, it doesn't look like it, Feza.
0:07:53 > 0:07:58I think an artist should be able to, to play around a little bit
0:07:58 > 0:08:00with perspective, I don't think it needs to be...
0:08:00 > 0:08:03I think a painter should be able to paint.
0:08:03 > 0:08:06Ouch! What was Feza saying about cynical and grumpy?
0:08:06 > 0:08:10David's clearly not convinced by Feza's technique,
0:08:10 > 0:08:14but Charlotte rather likes it. This could still go either way.
0:08:14 > 0:08:15Roy?
0:08:15 > 0:08:20Feza, I'm afraid I find it sort of sub-Dali in originality.
0:08:20 > 0:08:23So, so it doesn't really have it for me.
0:08:23 > 0:08:25And as far as the technical ability and skill goes,
0:08:25 > 0:08:28there's no real draughtsmanship here.
0:08:28 > 0:08:30It's time for the judges to cast their votes.
0:08:30 > 0:08:33Remember, Feza is a brand new artist.
0:08:33 > 0:08:36A place at the Mall Galleries could really launch her career.
0:08:36 > 0:08:41But are the judges prepared to give her a chance?
0:08:42 > 0:08:43Roy, yes or no?
0:08:45 > 0:08:46I'm afraid, Feza, it's a no.
0:08:49 > 0:08:51David, yes or no?
0:08:51 > 0:08:53No.
0:08:55 > 0:08:58Feza, I'm afraid I would say no too, but don't be disheartened.
0:08:58 > 0:09:01And thank you so much for bringing your painting to see us today.
0:09:01 > 0:09:03- Thank you. - Thank you very much.
0:09:03 > 0:09:06It's game over for Feza.
0:09:06 > 0:09:08She's set herself a very ambitious goal,
0:09:08 > 0:09:11to achieve recognition as a professional artist.
0:09:11 > 0:09:14And she certain has the passion to succeed.
0:09:14 > 0:09:17But the judges don't feel her work is of a high enough standard.
0:09:17 > 0:09:22You can see from Cappadocia that that's a rotten painting.
0:09:22 > 0:09:24- Oh, Feza!- Yeah, terrible!
0:09:24 > 0:09:28No, not terrible. Commiserations. I mean, how do you feel?
0:09:28 > 0:09:30Is there anything you disagreed with?
0:09:30 > 0:09:34They say it's not original, but to me it's original,
0:09:34 > 0:09:35to a lot of other people it is.
0:09:35 > 0:09:37I'm looking at your little face,
0:09:37 > 0:09:40- I know you were confident when you went in.- Yeah.
0:09:40 > 0:09:42- We haven't knocked the confidence out of you, have we?- No.
0:09:42 > 0:09:44I'm a tough cookie.
0:09:44 > 0:09:46You're a tough cookie! A tough cookie with a lovely smile.
0:09:46 > 0:09:49- Commiserations.- Thank you, Chris. - And we'll see you next time.- Bye.
0:09:51 > 0:09:55To win a place at the exhibition, we asked artists
0:09:55 > 0:09:58both amateur and professional to send us their work.
0:09:58 > 0:10:00And we had entries from all over the country,
0:10:00 > 0:10:04from drawings to photos to paintings to sculptures.
0:10:04 > 0:10:08But only the best got through to our Hanging Committee.
0:10:08 > 0:10:12Our next contender was 41-year-old jazz musician
0:10:12 > 0:10:14Adrian Sykes from Bristol.
0:10:14 > 0:10:18Adrian fell into the jazz scene after art school,
0:10:18 > 0:10:20and was soon making a precarious living
0:10:20 > 0:10:24busking and doing pavement art on the streets of Europe.
0:10:24 > 0:10:26He went on to play in bands up and down the country,
0:10:26 > 0:10:29until recently deciding to go back to art
0:10:29 > 0:10:31to see whether he's got what it takes
0:10:31 > 0:10:33to make it as a professional artist.
0:10:33 > 0:10:36The chance to make some cash by selling his work
0:10:36 > 0:10:41at our exhibition is just the break he needs.
0:10:41 > 0:10:43- So great adventures.- Yeah.
0:10:43 > 0:10:47But now are you saying to yourself, "I'm going to take this seriously?"
0:10:47 > 0:10:50Yeah, absolutely, yeah. It's something that I've wanted to do,
0:10:50 > 0:10:53and certainly progressively over the last few years, I've really,
0:10:53 > 0:10:56it's been my main passion.
0:10:56 > 0:10:58What difference, then, would it make to make our exhibition then?
0:10:58 > 0:11:02I think apart from obviously exposure and all that side of it,
0:11:02 > 0:11:06to have the sort of confidence that you get
0:11:06 > 0:11:09from other people believing in you is enormous.
0:11:09 > 0:11:12OK, if you sold, what would you spend the money on?
0:11:12 > 0:11:16I think I would, well, I would love to do some more travelling
0:11:16 > 0:11:19- and combine that with art. - Brilliant. Well, I'm intrigued.
0:11:19 > 0:11:22- I'm looking forward to it. Good luck.- Thank you. Good to meet you.
0:11:22 > 0:11:25- The judges are through that door. - Cheers. Thank you.
0:11:28 > 0:11:30As a former pavement artist,
0:11:30 > 0:11:34Adrian must be used to people walking all over his work.
0:11:34 > 0:11:36But he'll be hoping for a very different reaction
0:11:36 > 0:11:38in today's Hanging Committee.
0:11:38 > 0:11:41He's submitted this huge pencil drawing of London,
0:11:41 > 0:11:45which he hopes will impress the judges.
0:11:48 > 0:11:52- Hi, Adrian.- Hi there.- Welcome to the Hanging Committee.- Thank you.
0:11:52 > 0:11:55Would you like to say something about your drawing?
0:11:55 > 0:11:57Yeah, the drawing's called Some Kind Of London.
0:11:57 > 0:12:02And it's been an ambition of mine to try and tackle London,
0:12:02 > 0:12:05to try and make this kind of huge and imposing city
0:12:05 > 0:12:09into something more of an imaginative and personal portrait.
0:12:09 > 0:12:13It took about a year to do, so a year to draw.
0:12:13 > 0:12:16So yeah, quite a few pencils were gone through!
0:12:16 > 0:12:18THEY ALL LAUGH
0:12:18 > 0:12:20What value do you put on this?
0:12:20 > 0:12:24- I'd put, I'd like to put 12,500 on it.- OK.
0:12:24 > 0:12:27That's great. I think we definitely need to have a closer look at it.
0:12:27 > 0:12:29Yeah! Sure.
0:12:34 > 0:12:38£12,500 is one of the higher valuations
0:12:38 > 0:12:40we've had on the show.
0:12:40 > 0:12:43But for a year's work, I would say that's a bargain.
0:12:43 > 0:12:48The judges are now scrutinising every brick and alleyway in the drawing,
0:12:48 > 0:12:51and Adrian is looking suitably nervous.
0:12:58 > 0:13:02- It took you a year?- Yes, it took me over a year, doing...
0:13:02 > 0:13:04And you're charging 12,500 quid for it?
0:13:04 > 0:13:05Mmm-hmm.
0:13:05 > 0:13:09The rich will like this. And so make them pay.
0:13:09 > 0:13:11HE LAUGHS
0:13:11 > 0:13:13Charge twice as much.
0:13:13 > 0:13:15Right! OK.
0:13:15 > 0:13:19That kind of advice must be music to Adrian's ears.
0:13:19 > 0:13:21Double your money, my friend.
0:13:22 > 0:13:27Adrian, this is your idiosyncratic view of London, from your mind.
0:13:27 > 0:13:30- Yeah.- So you are using a city I know and love
0:13:30 > 0:13:31and have lived in for 20 years.
0:13:31 > 0:13:32Yes.
0:13:32 > 0:13:34But everything's in the wrong place!
0:13:34 > 0:13:37- Yeah.- And I'm looking at Big Ben and going, "It's too small."
0:13:37 > 0:13:40I'm looking at the Shard and going, "Tower Bridge isn't there."
0:13:40 > 0:13:43When I'm looking I'm going, "And the point of moving them is?"
0:13:43 > 0:13:46I am like a kid in a sweetshop for this.
0:13:46 > 0:13:47I absolutely love it.
0:13:47 > 0:13:51You will make an absolute fortune with this by reproducing it
0:13:51 > 0:13:53and selling it in many different ways.
0:13:55 > 0:13:59That is extraordinary praise from our resident art dealer, Roy,
0:13:59 > 0:14:01who's quick to spot the commercial potential.
0:14:01 > 0:14:06But Charlotte seems to be getting lost with the landmarks.
0:14:06 > 0:14:09If Adrian wants to navigate his way to the exhibition,
0:14:09 > 0:14:10he needs another ally in David.
0:14:12 > 0:14:15It's very quirky and charming the way you've changed things.
0:14:15 > 0:14:18But I'm just not sure it's sufficient.
0:14:18 > 0:14:20Mmm-hmm.
0:14:20 > 0:14:22So it's time for a vote.
0:14:22 > 0:14:24And whether this should be in our exhibition or not.
0:14:24 > 0:14:28Adrian has spent a lifetime scraping by.
0:14:28 > 0:14:31Now vast sums of money are nearly within his grasp.
0:14:31 > 0:14:35His dream of travelling and making a living from his art
0:14:35 > 0:14:38could be decided in the next few seconds.
0:14:38 > 0:14:41Adrian, I will start. I think I've already made it clear. Yes.
0:14:44 > 0:14:45Charlotte.
0:14:45 > 0:14:49It falls into a chasm between cartography and art for me.
0:14:49 > 0:14:50I'm afraid it's a no.
0:15:01 > 0:15:04I don't think there's enough art in this.
0:15:04 > 0:15:05I really don't.
0:15:09 > 0:15:13But it's a talking point. So let's see what the public thinks.
0:15:13 > 0:15:15Yes.
0:15:19 > 0:15:22Two yeses. Adrian is over the first hurdle.
0:15:22 > 0:15:25He's bagged a spot at the Mall Galleries,
0:15:25 > 0:15:28and the chance to sell his quirky view of London
0:15:28 > 0:15:31for more than he ever dreamed it could be worth.
0:15:31 > 0:15:32Good call, David.
0:15:32 > 0:15:36I would go to the art exhibition just for this alone.
0:15:36 > 0:15:40The question now is, will anyone want to buy Adrian's drawing?
0:15:44 > 0:15:47The Mall Galleries, London.
0:15:47 > 0:15:50And Adrian's drawing of the UK's capital city
0:15:50 > 0:15:52was looking right at home.
0:15:52 > 0:15:56The exhibition was open to the public, art dealers and critics.
0:15:56 > 0:16:00And Adrian and his picture were the centre of attention throughout.
0:16:01 > 0:16:05I love this one here that looks like an old, sort of, etching,
0:16:05 > 0:16:08but it's contemporary London, cos there's the wheel.
0:16:08 > 0:16:11I love the compressed view of London.
0:16:11 > 0:16:14I know there's lots of landmarks in there, and the longer you sit
0:16:14 > 0:16:16and look at that picture, the more there is in it.
0:16:16 > 0:16:19But would anyone want to buy Adrian's drawing?
0:16:19 > 0:16:22He took the judges' advice and upped his guide price
0:16:22 > 0:16:27from £12,500 to £24,500
0:16:27 > 0:16:31The public were invited to make sealed bids to an independent agent,
0:16:31 > 0:16:34who would take a 10% commission on sales.
0:16:34 > 0:16:38The results of the bidding were handed to me in a sealed envelope,
0:16:38 > 0:16:40to be revealed to the artist and the public
0:16:40 > 0:16:43on the final day of the exhibition.
0:16:43 > 0:16:46Until I opened that envelope,
0:16:46 > 0:16:48even I didn't know what bids had been placed.
0:16:48 > 0:16:50- Here we go then.- Yeah. - Moment of truth.
0:16:52 > 0:16:55Right. OK.
0:16:57 > 0:16:5924,500 is what we're looking for.
0:16:59 > 0:17:02We only had one offer.
0:17:02 > 0:17:06Despite the fact that it was the talk of the town, basically.
0:17:08 > 0:17:12- And it was for 5,500.- Mmm.
0:17:12 > 0:17:13THE CROWD MURMUR
0:17:13 > 0:17:15Oh! The crowd aren't happy with that.
0:17:15 > 0:17:17The crowd aren't happy with that.
0:17:17 > 0:17:20And I can see your family and friends all going, mmm!
0:17:20 > 0:17:22How do you feel about that?
0:17:22 > 0:17:24Well, it's still a lot of money to have, you know,
0:17:24 > 0:17:28to sell a piece of work at that much, but I think,
0:17:28 > 0:17:32I think certainly for the amount of work and the time that it took me,
0:17:32 > 0:17:35I don't know whether that quite reflects, you know, those hours.
0:17:35 > 0:17:38So you're gonna turn that down?
0:17:38 > 0:17:41I think I will, actually. I think I will.
0:17:41 > 0:17:43- Although it would be a good night out with the lads. - THEY APPLAUD
0:17:43 > 0:17:46Well, Adrian, it's been a real pleasure meeting you.
0:17:46 > 0:17:48- You too, thanks.- Give him a hug.
0:17:48 > 0:17:51I'm sorry we don't have any cash for you, Mummy!
0:17:51 > 0:17:52The very best, give him a cuddle.
0:17:54 > 0:17:57Adrian may not have sold, but shortly after the show
0:17:57 > 0:18:00he was invited to display his work at a group exhibition
0:18:00 > 0:18:04in Hertfordshire, and has since sold a number of prints of his drawing.
0:18:12 > 0:18:14Artist after artist brought their work along
0:18:14 > 0:18:19to the Hanging Committee in the hope of impressing the judges,
0:18:19 > 0:18:22and the standard of the art was incredibly high.
0:18:22 > 0:18:25But not everybody made it through.
0:18:25 > 0:18:28Charity worker and amateur photographer, Gillian Gamble,
0:18:28 > 0:18:32came to the Hanging Committee with her Peter Pan-inspired photograph.
0:18:32 > 0:18:35It's a staged photograph, taken four storeys up
0:18:35 > 0:18:36in my hometown of St Andrews.
0:18:36 > 0:18:40But it wasn't long before our very own Captain Hook
0:18:40 > 0:18:43brought her hopes crashing back down to earth.
0:18:43 > 0:18:47Your friend nearly died for your art.
0:18:47 > 0:18:50But the question is, was it worth it?
0:18:50 > 0:18:52And the answer is, no, it wasn't.
0:18:52 > 0:18:56And Charlotte felt Gillian's talents perhaps lay elsewhere.
0:18:56 > 0:19:01- It's a lovely fashion photograph, but it's no, I'm afraid.- Thank you.
0:19:01 > 0:19:05Former graphic designer, Richard Davis, brought along this
0:19:05 > 0:19:09creepy interpretation of the goddess Aphrodite.
0:19:09 > 0:19:16Richard, I think those people who enjoy ghoulish surrealism
0:19:16 > 0:19:17will respond to your work.
0:19:17 > 0:19:20Yes, I think this is worth seeing again.
0:19:20 > 0:19:23But while his style interested David,
0:19:23 > 0:19:25Roy felt he'd seen it all before.
0:19:25 > 0:19:28Subject matter is such a cliche
0:19:28 > 0:19:31that I don't think I could bear to see it again.
0:19:31 > 0:19:35On this occasion, from this picture, I'm afraid it's a no. Thank you.
0:19:35 > 0:19:38Teaching assistant and mum of two, Polly Merrydew,
0:19:38 > 0:19:42came to the Hanging Committee hoping to raise some cash for a new car.
0:19:42 > 0:19:46I'd like £1,300 for it.
0:19:46 > 0:19:49Her hypnotic painting seemed to mesmerise Charlotte.
0:19:49 > 0:19:55It hasn't stopped moving in front of me. I'm really surprising myself.
0:19:55 > 0:19:57I'm going to say yes.
0:19:57 > 0:20:01But it just wasn't enough to take her through to the exhibition.
0:20:01 > 0:20:05I don't feel this fits with what we are looking for in this exhibition.
0:20:05 > 0:20:06So it's a no.
0:20:06 > 0:20:1070-year-old Anne Young had travelled all the way from Liverpool
0:20:10 > 0:20:13with her painting, The Agreement.
0:20:13 > 0:20:15It drew an animated response from judge Charlotte.
0:20:15 > 0:20:17I'm worried what they're celebrating,
0:20:17 > 0:20:20because I think they look like they're about to poison somebody.
0:20:20 > 0:20:25It's up to the viewer. Everyone has a different interpretation, really.
0:20:25 > 0:20:27But David didn't pull any punches
0:20:27 > 0:20:31when it came to judging Anne's technical skill.
0:20:31 > 0:20:33I think areas of this are so crude
0:20:33 > 0:20:36it's almost like looking at painting by numbers.
0:20:36 > 0:20:40And unfortunately for Anne all the judges were in agreement
0:20:40 > 0:20:42when it came to casting their votes.
0:20:42 > 0:20:44Anne, I'm sorry. It's a no.
0:20:44 > 0:20:46- No from me.- Sorry, Anne, no.
0:20:46 > 0:20:48- Lovely to meet you. - Lovely to meet you, Anne.- Cheerio.
0:20:50 > 0:20:55Our next hopeful to appear before the Hanging Committee at Eltham Palace
0:20:55 > 0:20:59was 43-year-old sculptor Steve Eastwood
0:20:59 > 0:21:01from Stafford in the West Midlands.
0:21:02 > 0:21:04Steve used to be an engineer,
0:21:04 > 0:21:07but at the age of 19 he was dealt a devastating blow,
0:21:07 > 0:21:11which put an end to his career and turned his life upside down.
0:21:13 > 0:21:15- Well, a former engineer.- Yes.
0:21:15 > 0:21:17And then unfortunately you had an event in your life,
0:21:17 > 0:21:19very young age, what happened?
0:21:19 > 0:21:25I was 19, when then, all of a sudden, I suffered a stroke.
0:21:25 > 0:21:32Which took away my dominant hand, my voice,
0:21:32 > 0:21:35which took me about six months
0:21:35 > 0:21:42to even say a word properly.
0:21:42 > 0:21:43You know.
0:21:43 > 0:21:44Let me just try and get this right.
0:21:44 > 0:21:47- So you were right handed, you were right handed.- Yes.
0:21:47 > 0:21:50And you lost all movement to your right hand side?
0:21:50 > 0:21:51Yeah. Still. Yeah.
0:21:51 > 0:21:54- Still.- Yeah.- So you then started retraining the left side?
0:21:54 > 0:21:56- Yes.- Suddenly you had some artistic talent.
0:21:56 > 0:22:00Yes. I could draw when I was right handed.
0:22:00 > 0:22:04You know, not sculpture before.
0:22:04 > 0:22:08I mean, what are you trying to get out of being on this programme?
0:22:08 > 0:22:12I wanted to show, I'm not being funny,
0:22:12 > 0:22:15you able people that
0:22:15 > 0:22:20disabled people still have a life
0:22:20 > 0:22:23that's still left in them.
0:22:23 > 0:22:27If you do get to the exhibition and you sell your piece of sculpture...
0:22:27 > 0:22:30- Yeah, well, yeah. - ..What would you spend the money on?
0:22:30 > 0:22:34I'd probably take my wife on a nice holiday.
0:22:34 > 0:22:37- Well, mate, I wish you the very best of luck.- Thank you.
0:22:37 > 0:22:40- Just through those doors, sir. - Yes, sir.
0:22:40 > 0:22:41And the judges await.
0:22:46 > 0:22:50Steve has battled against overwhelming odds.
0:22:50 > 0:22:54At the age of 19 he had to learn to speak again and to walk again.
0:22:54 > 0:22:57He now wants to prove to the judges that disability
0:22:57 > 0:23:00is no obstacle to producing great art.
0:23:00 > 0:23:03But will his plaster, wood and resin sculpture
0:23:03 > 0:23:05impress this very demanding panel?
0:23:21 > 0:23:22- Steve.- Yes. Hello.
0:23:22 > 0:23:24You're very welcome to the Hanging Committee.
0:23:24 > 0:23:27Can you tell us something about your sculpture, please?
0:23:27 > 0:23:32This is a bust of me when I had hair!
0:23:32 > 0:23:39And it's showing the anger and the frustration
0:23:39 > 0:23:43of me not being able to get my words out,
0:23:43 > 0:23:46due to a stroke.
0:23:46 > 0:23:48- So you've had a stroke?- Yeah.
0:23:48 > 0:23:50Is that recent?
0:23:50 > 0:23:55No, no, no. It happened when I was 19.
0:23:55 > 0:23:58- Gosh!- Wow! Gosh.
0:23:58 > 0:24:04And it took away all my right hand side, including my voice.
0:24:04 > 0:24:06- I mean it's obviously a very, very personal piece.- Yeah.
0:24:06 > 0:24:10Which makes putting a value on it probably quite difficult.
0:24:10 > 0:24:12- Yeah.- Have you thought about a value for it
0:24:12 > 0:24:14if it were to go into an exhibition?
0:24:14 > 0:24:20- I thought 3,200.- OK.
0:24:20 > 0:24:23It's a high valuation for an unknown artist.
0:24:23 > 0:24:26But Steve has chosen a figure that reflects
0:24:26 > 0:24:32the sculpture's huge emotional value and his own triumph over adversity.
0:24:32 > 0:24:35Can we come and have a closer look, so we can get a better idea of...
0:24:35 > 0:24:36Of you?
0:24:36 > 0:24:39Steve's been living with the consequences of his stroke
0:24:39 > 0:24:42for over 20 years now.
0:24:42 > 0:24:44It's been a tough time for him and his wife.
0:24:44 > 0:24:47If he sells his sculpture for over £3,000,
0:24:47 > 0:24:50he's promised to take his wife on holiday.
0:24:50 > 0:24:53He's also hoping a place at the exhibition
0:24:53 > 0:24:54will open some doors for him,
0:24:54 > 0:24:58and launch him on his career as a sculptor.
0:24:58 > 0:25:02But first he'll have to get past these razor-sharp critics,
0:25:02 > 0:25:04starting with David.
0:25:06 > 0:25:10With art, Steve,
0:25:10 > 0:25:13art goes one step beyond illustration.
0:25:13 > 0:25:16And I think what you've done is you've
0:25:16 > 0:25:20illustrated your state of mind
0:25:20 > 0:25:24with great conviction and skill.
0:25:24 > 0:25:27If it's going to be art there has to be something
0:25:27 > 0:25:33in the way you've handled, one-handed, the material,
0:25:33 > 0:25:36in order to raise it beyond that
0:25:36 > 0:25:41into something which is a beautiful object.
0:25:41 > 0:25:43That's not a great start.
0:25:43 > 0:25:47David's not convinced the sculpture works as a piece of art.
0:25:47 > 0:25:50I still can't quite believe you did this after not having sculpted
0:25:50 > 0:25:53- before you had a stroke. - No, I know, but...
0:25:53 > 0:25:54So you're very technically able.
0:25:54 > 0:25:57And, emotionally, I do think this is determination,
0:25:57 > 0:26:02this is your determination, going through what you went through.
0:26:02 > 0:26:06Steve, I think the expression in this is amazing.
0:26:06 > 0:26:09The colour, everything about it shouts loudly,
0:26:09 > 0:26:14but silently, in ways that you don't expect.
0:26:14 > 0:26:17It's a strange, ochre-y, chocolate colour.
0:26:17 > 0:26:20It makes you have to, it makes you stare and ask questions about it.
0:26:22 > 0:26:26So the sculpture definitely packs an emotional punch for Charlotte
0:26:26 > 0:26:29and Roy, and Charlotte thinks it shows technical ability.
0:26:29 > 0:26:33But is it good enough to secure Steve a place at the exhibition?
0:26:36 > 0:26:41It's a most tremendous illustration of your plight.
0:26:43 > 0:26:48But it fails as art, I believe. So my answer is no.
0:26:53 > 0:26:55For a bust that's almost now 20 years old,
0:26:55 > 0:26:58it's incredibly contemporary feeling.
0:26:58 > 0:27:01I feel I have to say yes.
0:27:01 > 0:27:03Thank you.
0:27:05 > 0:27:07Steve needs two yeses to go through,
0:27:07 > 0:27:11which means his fate now lies with Charlotte.
0:27:18 > 0:27:20It's a very hard decision to make.
0:27:26 > 0:27:30I'm afraid it just doesn't make it for me, it's a no.
0:27:30 > 0:27:32I'm sorry.
0:27:32 > 0:27:34Thanks.
0:27:34 > 0:27:37It's the end of the line for Steve.
0:27:37 > 0:27:40His sculpture won't be appearing at the Mall Galleries.
0:27:44 > 0:27:47Frustrating or enlightening?
0:27:47 > 0:27:50Frustrating, really.
0:27:50 > 0:27:55I thought that I would be able to sell it
0:27:55 > 0:27:59in an exhibition.
0:27:59 > 0:28:04I was trying show all the rest of the world...
0:28:04 > 0:28:07that anger.
0:28:07 > 0:28:08You wanted to demonstrate to people.
0:28:08 > 0:28:10- Yeah.- Able-bodied people.- Yeah.
0:28:10 > 0:28:13That disabled artists have a lot of talent
0:28:13 > 0:28:17- and with work they can create something quite special.- Yes.
0:28:17 > 0:28:19And I think quite easily you have achieved that.
0:28:19 > 0:28:21Thanks a lot. Bye.
0:28:26 > 0:28:30Artist after artist faced our judges,
0:28:30 > 0:28:34hoping to win a coveted place at the Mall Galleries.
0:28:34 > 0:28:40Back at Eltham Palace we met 29-year-old Usman Sheik from London.
0:28:40 > 0:28:43For seven years he worked as a highflying city trader,
0:28:43 > 0:28:46known to his colleagues as Shaky.
0:28:46 > 0:28:50He dealt with billions of pounds' worth of commodities every day.
0:28:50 > 0:28:53But just three weeks ago he gave it up,
0:28:53 > 0:28:55quitting his well paid job
0:28:55 > 0:28:58to see if he could make it as a professional painter.
0:29:02 > 0:29:06My art means everything to me. It's how I express myself.
0:29:09 > 0:29:13He's submitted this acrylic painting of two dancers,
0:29:13 > 0:29:16and he needs a good reaction from the judges
0:29:16 > 0:29:19to make a return on his latest investment.
0:29:19 > 0:29:22Hello, guys.
0:29:22 > 0:29:24Hello, Shaky. Welcome to the Hanging Committee.
0:29:24 > 0:29:26Please tell us about your painting.
0:29:26 > 0:29:28This painting is called The Sufis.
0:29:28 > 0:29:32It's essentially my depiction of the state of mind
0:29:32 > 0:29:36these dancers get into when they swirl to music.
0:29:36 > 0:29:39And how much would you want to sell this painting for?
0:29:39 > 0:29:41It's £2,200.
0:29:41 > 0:29:45£2,200. We'll come and take a closer look.
0:29:45 > 0:29:46Please.
0:29:49 > 0:29:53Now, Shaky's used to a stressful environment on the trading floor.
0:29:53 > 0:29:56But this is a different kind of pressure.
0:29:56 > 0:29:58His painting is being examined
0:29:58 > 0:30:02by three of the art world's sharpest critics.
0:30:02 > 0:30:06A place at the exhibition would give him some serious recognition
0:30:06 > 0:30:08and a chance to sell his piece.
0:30:13 > 0:30:15What do you do as your day job then?
0:30:15 > 0:30:17I was in the City, I was trading commodities
0:30:17 > 0:30:19- until a couple of weeks ago.- Oh!
0:30:19 > 0:30:21Yes. So I decided to...
0:30:21 > 0:30:23Oh, you've been fired, have you?
0:30:23 > 0:30:25- David is so, he's so warm!- Yes!
0:30:26 > 0:30:28Why did you choose to leave?
0:30:28 > 0:30:30I think I just need more time for this.
0:30:30 > 0:30:33I'm trying to do something on the side, to earn a bit of money,
0:30:33 > 0:30:37and I think I'd like to be a full-time painter eventually.
0:30:37 > 0:30:41It's clear David doesn't approve of Shaky's previous career,
0:30:41 > 0:30:42but this is all about his future one.
0:30:42 > 0:30:46So come on, guys, let's get back to the art.
0:30:46 > 0:30:50Just let me get this right. These green smears at the back are the audience, are they?
0:30:50 > 0:30:51Light and audience, both.
0:30:51 > 0:30:54- Not people?- People and audi...people and lights.
0:30:54 > 0:30:55- Oh, right.- It's essentially...
0:30:55 > 0:30:59There are people and lights, which are coming onto the stage.
0:30:59 > 0:31:01Oh, right. You could have fooled me.
0:31:02 > 0:31:04In fact, you did!
0:31:04 > 0:31:05THEY LAUGH
0:31:05 > 0:31:07You have captured a sense of movement,
0:31:07 > 0:31:09I really get that in the, in the skirts.
0:31:09 > 0:31:13- I disagree. I think that's a completely static image.- Do you?
0:31:13 > 0:31:16- The way the brush strokes are done on the skirts?- There's no movement.
0:31:16 > 0:31:18This bloke on the right couldn't possibly move,
0:31:18 > 0:31:19he's the size of a barrel.
0:31:19 > 0:31:23The bloke on the right, it doesn't look like he's moving,
0:31:23 > 0:31:26it looks as though he's falling out of the picture on the left hand side.
0:31:26 > 0:31:30The quality of the painting is what will make this work
0:31:30 > 0:31:35into an exhibit-able piece, and it's an absolutely,
0:31:35 > 0:31:39to my eye, it's an absolutely appalling daub.
0:31:40 > 0:31:43Hmm. I'm pretty sure that's not a compliment.
0:31:43 > 0:31:48In fact, the dictionary says a daub is a crude, clumsy painting.
0:31:48 > 0:31:50So we know where David stands.
0:31:50 > 0:31:53Shaky's hopes now lie with Charlotte and Roy.
0:31:55 > 0:31:59Shaky, I haven't seen anything quite like this.
0:31:59 > 0:32:03You're trying to be expressive and impressionistic,
0:32:03 > 0:32:06wrapped into one.
0:32:06 > 0:32:10It's not quite getting any of those things for me.
0:32:10 > 0:32:12Given that you have had a successful career,
0:32:12 > 0:32:14you hopefully have some money behind you,
0:32:14 > 0:32:18get yourself to art school and have some grounding in how to paint
0:32:18 > 0:32:23and draw well, to go back to a style that's more expressive.
0:32:23 > 0:32:28You said a few moments ago, you need more time for this.
0:32:28 > 0:32:32- No, no, for paintings. For art. - Exactly. You certainly do.
0:32:34 > 0:32:37Shaky turned his back on a career in the City,
0:32:37 > 0:32:40and it's a testament to his ability that he's got this far.
0:32:40 > 0:32:45But will the judges want to see his art in their exhibition?
0:32:48 > 0:32:51So, Shaky, we are going to take it to a vote now.
0:32:51 > 0:32:53I'm going to start with David.
0:32:53 > 0:32:55No.
0:32:55 > 0:32:57- Roy.- No.
0:32:58 > 0:33:00Shaky, it's no from me too.
0:33:00 > 0:33:02But thank you for bringing it to show us today.
0:33:02 > 0:33:05- And it's lovely to meet you. - My pleasure. Thank you.
0:33:05 > 0:33:07- Thank you.- Bye-bye.
0:33:07 > 0:33:09It's three no's for Shaky.
0:33:09 > 0:33:13And unfortunately his painting won't be whirling its way
0:33:13 > 0:33:15to the exhibition.
0:33:15 > 0:33:16That was tough, wasn't it?
0:33:16 > 0:33:20Yeah. I've never had anyone say that they don't like this painting.
0:33:20 > 0:33:22One of the judging criteria is technicality.
0:33:22 > 0:33:25Maybe it wasn't there because I've never got training.
0:33:25 > 0:33:29Charlotte advised you to go to art college or get some grounding,
0:33:29 > 0:33:31do you think you would do it?
0:33:31 > 0:33:33No, I don't think so. At the moment, I don't think so.
0:33:33 > 0:33:36I think I'll just stick to try... Keep on expressing myself.
0:33:36 > 0:33:39- OK. Well, really nice to meet you, Shaky.- My pleasure.
0:33:39 > 0:33:41- Best of luck in the future. - Thank you. Bye-bye.
0:33:46 > 0:33:50One after another they trooped before the Hanging Committee,
0:33:50 > 0:33:54and it was bound to be a day of disappointment for some
0:33:54 > 0:33:55and triumph for others.
0:33:55 > 0:33:59Our last contender to appear before the Hanging Committee
0:33:59 > 0:34:03was 38-year-old professional sculptor, Brendan Hesmondhalgh.
0:34:05 > 0:34:07As well as making art for a living,
0:34:07 > 0:34:10Brendan mentors budding artists from his own workshop.
0:34:10 > 0:34:13He's been in the art world for 11 years,
0:34:13 > 0:34:15but if it wasn't for an old schoolteacher
0:34:15 > 0:34:18his career could have taken a very different path.
0:34:18 > 0:34:22I actually applied to do law at Keele University.
0:34:22 > 0:34:25I had a law teacher who sat me down at 17 and told me I wasn't good enough,
0:34:25 > 0:34:28and an art teacher that applied to art college for me.
0:34:28 > 0:34:29How did your parents feel about that?
0:34:29 > 0:34:32My father was a little bit unsure about it,
0:34:32 > 0:34:34he reluctantly took me to art college,
0:34:34 > 0:34:36dropped me off, suitcase out the car, went home, and said
0:34:36 > 0:34:39- "Don't ring up for any money!" - Oh, right!
0:34:39 > 0:34:42So from that point on I realised that if I was going to do it,
0:34:42 > 0:34:44I had to make sure I was going to do it as a job,
0:34:44 > 0:34:46and actually make a living out of it.
0:34:46 > 0:34:48When students sit there, they want to be discovered and know
0:34:48 > 0:34:51- if they can justify their place in the art world.- Yeah.
0:34:51 > 0:34:52Whereas you've got lots to lose.
0:34:52 > 0:34:55Possibly. You're now really making me nervous!
0:34:55 > 0:34:58Good, good! We like to see you a little bit nervous,
0:34:58 > 0:35:00- a little bit on edge. - On edge. Yeah. Thanks.
0:35:00 > 0:35:02What would you do with the money?
0:35:02 > 0:35:03I think it'll quite happily go towards
0:35:03 > 0:35:06some of the renovations of the workshops.
0:35:06 > 0:35:09I'm modernising. Too many years of cold, damp, wet workshops.
0:35:09 > 0:35:11All right, well, I wish you all the luck in the world.
0:35:11 > 0:35:12Thank you. Cheers.
0:35:12 > 0:35:15- Just through those doors. Best of luck.- Cheers.- Take care.- Thank you.
0:35:16 > 0:35:19There's a lot riding on this for Brendan,
0:35:19 > 0:35:22and it's not just the upgrade of his studio that's at stake here.
0:35:22 > 0:35:27He's putting all his faith in this multi-coloured sculpture of a bull,
0:35:27 > 0:35:30entitled Spanish Blue.
0:35:30 > 0:35:33It's about to be critiqued by three of the best in the business,
0:35:33 > 0:35:35and if they don't like it,
0:35:35 > 0:35:38his professional reputation could be on the line.
0:35:38 > 0:35:39Hello.
0:35:43 > 0:35:46- Brendan, hello.- Hi.
0:35:46 > 0:35:49Welcome to the Hanging Committee. Please tell us about your work.
0:35:49 > 0:35:51It's an original, hand-built sculpture.
0:35:51 > 0:35:56The medium that I use is clay, it's a stoneware and porcelain mix.
0:35:56 > 0:35:58It's all slab built,
0:35:58 > 0:36:01and what I mean by that is it's built from the inside out,
0:36:01 > 0:36:05I stretched the clay from the inside to push out the shape and form
0:36:05 > 0:36:07of the subject, and kind of put forward the sort of essence,
0:36:07 > 0:36:09and the sort of character of the subject,
0:36:09 > 0:36:11rather than anatomical correctness.
0:36:11 > 0:36:14What valuation do you put on this piece?
0:36:14 > 0:36:16The retail price of a piece like this would be £1,800.
0:36:16 > 0:36:18Great. Could we come and take a closer look?
0:36:18 > 0:36:20Please.
0:36:22 > 0:36:24A confident start from Brendan,
0:36:24 > 0:36:27who obviously has belief in his sculpture.
0:36:27 > 0:36:31But his bull is about to come under some serious scrutiny,
0:36:31 > 0:36:34as our judges give it the once-over.
0:36:48 > 0:36:52The decoration, or whatever it might be,
0:36:52 > 0:36:55it seems the elephant in the room. What is that all about?
0:36:55 > 0:36:59The application of colour is done with very much sweeping lines,
0:36:59 > 0:37:01very loose, and it's just to sort of try
0:37:01 > 0:37:03and sort of make the piece look alive, to make it look like,
0:37:03 > 0:37:06you know, it would actually move.
0:37:06 > 0:37:08It's trying to sort of capture that essence.
0:37:08 > 0:37:11Brendan spent over a decade developing his unique style.
0:37:11 > 0:37:15But the big question is, will the judges like it?
0:37:16 > 0:37:19I mean, I think anyone taking on a bull today, for me,
0:37:19 > 0:37:21takes on Picasso.
0:37:21 > 0:37:25With that amazing series, the very famous series of bulls,
0:37:25 > 0:37:27when you start with a very real bull,
0:37:27 > 0:37:31and with each print it becomes more and more the essence of the bull.
0:37:31 > 0:37:34But do you think Brendan has gone far enough away from
0:37:34 > 0:37:37trying to make it look like a real bull, towards the essence?
0:37:37 > 0:37:40Personally, I couldn't give a toss about Picasso's bulls,
0:37:40 > 0:37:43I'm looking at a bull.
0:37:43 > 0:37:49And it seems to me to, to work, in its handling, its material,
0:37:49 > 0:37:51its unusual finish.
0:37:53 > 0:37:58Its pose. It's...it's monumental, in a way, isn't it?
0:37:58 > 0:38:01I think David's in love!
0:38:01 > 0:38:05There's no doubting Brendan has one judge on board.
0:38:05 > 0:38:10But he needs two yes votes if he wants a place at the exhibition.
0:38:10 > 0:38:12I'm hoping that I've done enough on the surface,
0:38:12 > 0:38:16and enough with the piece to make it more than just, dare I say,
0:38:16 > 0:38:17a mere mantelpiece ornament.
0:38:17 > 0:38:20The coloration on it is certainly pulling it away from ornament.
0:38:20 > 0:38:22It's still leaving me cold,
0:38:22 > 0:38:25and I don't think a powerful animal like this should.
0:38:25 > 0:38:28I think that's probably what we all are deliberating,
0:38:28 > 0:38:30where this, where this piece sits.
0:38:30 > 0:38:32For me, I've made my mind up.
0:38:32 > 0:38:37OK, Roy has made his decision, but what is it?
0:38:37 > 0:38:40David thinks the bull is monumental,
0:38:40 > 0:38:42but Charlotte is questioning whether
0:38:42 > 0:38:44it has the necessary emotional impact.
0:38:44 > 0:38:49So I suspect it's Roy's vote that will decide Brendan's future.
0:38:49 > 0:38:52Failure to make the exhibition would be a real knock
0:38:52 > 0:38:54for an artist of his stature.
0:38:54 > 0:38:58Not to mention losing the opportunity to sell his bull
0:38:58 > 0:39:02and earn some cash for that studio makeover.
0:39:02 > 0:39:05So, Brendan, we are going to take it to a vote.
0:39:05 > 0:39:07I'm going to start with David.
0:39:07 > 0:39:08Very impressive. Yes.
0:39:08 > 0:39:10Thank you.
0:39:11 > 0:39:14OK, I'm afraid I'm going to say no.
0:39:14 > 0:39:15- OK, thank you.- So it's down to Roy.
0:39:15 > 0:39:21No surprises with those votes. As suspected, it's all down to Roy.
0:39:21 > 0:39:25It's got everything I need to see and feel about something, so yes.
0:39:25 > 0:39:28- Thank you.- Well, it doesn't matter that I said no,
0:39:28 > 0:39:31thank you very much, we will be seeing it and you at the Mall.
0:39:31 > 0:39:33- Thank you.- Congratulations.- Cheers.
0:39:33 > 0:39:35Two yeses. Brendan is past the first hurdle,
0:39:35 > 0:39:38and he's on his way to the exhibition.
0:39:38 > 0:39:42The question now is, will there be any buyers for Brendan's bull?
0:39:47 > 0:39:52The Mall Galleries, London. And Brendan's bull took pride of place.
0:39:52 > 0:39:55I think the fact that it's at the front, down the steps,
0:39:55 > 0:39:58I think it's going to stand out in its location.
0:39:58 > 0:40:01I think the fact that it's 3D as well gives it a slight advantage
0:40:01 > 0:40:04in the fact that there's more 2D work than 3D.
0:40:04 > 0:40:07Brendan rubbed shoulders with art dealers, collectors,
0:40:07 > 0:40:10and members of the public of all ages.
0:40:10 > 0:40:13And his bull caused quite a stir,
0:40:13 > 0:40:15even if some people didn't know what it was.
0:40:15 > 0:40:20I like the pig, but I find out it's not a pig, it's a bull!
0:40:20 > 0:40:22I would love to possess the bull.
0:40:22 > 0:40:26I think it's such a strong, full of life, slightly exaggerated...
0:40:26 > 0:40:28I love that style.
0:40:28 > 0:40:31Brendan was keen to sell,
0:40:31 > 0:40:35so he lowered his asking price from £1,800 to £1,600.
0:40:35 > 0:40:38But would anybody be prepared to dig deep
0:40:38 > 0:40:41and take this bull home by the horns?
0:40:41 > 0:40:43It was time for me to reveal to Brendan,
0:40:43 > 0:40:46his friends and visitors to the exhibition,
0:40:46 > 0:40:49whether anybody had many any secret bids.
0:40:49 > 0:40:52Do you think you got people interested enough to buy it?
0:40:52 > 0:40:53I had a few people interested,
0:40:53 > 0:40:56but whether actually to purchase I'm not sure.
0:40:56 > 0:40:59I think, an honest answer, I'd probably say I wouldn't have sold.
0:40:59 > 0:41:01Right. How much did you want?
0:41:01 > 0:41:03The guide price was about £1,600.
0:41:03 > 0:41:06Right, let's open this envelope
0:41:06 > 0:41:10and see how we get on.
0:41:11 > 0:41:13So your guide price, 1,600?
0:41:14 > 0:41:17Well, you've got seven offers.
0:41:17 > 0:41:19CROWD GASP AND MURMUR
0:41:19 > 0:41:22Right. Starting with the lowest, 700.
0:41:22 > 0:41:25How about the next offer, 800?
0:41:25 > 0:41:26- Probably not, no.- OK.
0:41:26 > 0:41:30- Then there was 959.- OK.
0:41:30 > 0:41:32973.
0:41:33 > 0:41:37Then we came to the fifth offer. Which was 1,500.
0:41:37 > 0:41:40OK.
0:41:40 > 0:41:45The sixth offer was for 2,075.
0:41:45 > 0:41:47OK.
0:41:47 > 0:41:48Not too bad now, eh?
0:41:48 > 0:41:50Last night's paid for.
0:41:50 > 0:41:51Last night's paid for.
0:41:51 > 0:41:52THEY LAUGH
0:41:52 > 0:41:55OK, let's get serious now, because this is the highest offer
0:41:55 > 0:41:59that we had on the night, the final offer.
0:42:00 > 0:42:04And it was for £2,251.
0:42:04 > 0:42:05Very good.
0:42:05 > 0:42:08CROWD APPLAUD
0:42:08 > 0:42:11Well done. Not bad at all, eh?
0:42:11 > 0:42:14I was wrong, so. Yeah, I'm pleased with that, it's very good.
0:42:14 > 0:42:18- Big round of applause, well done. - Another night in London!
0:42:18 > 0:42:19THEY APPLAUD
0:42:23 > 0:42:25What a result for a shell-shocked Brendan.
0:42:25 > 0:42:28He got a record number of offers for his bull,
0:42:28 > 0:42:34and he's sold it to the highest bidder for £2,251.
0:42:34 > 0:42:37Even after the 10% commission he'll have to pay to the agent,
0:42:37 > 0:42:41that's still well above his original asking price.
0:42:41 > 0:42:43He'll now be able to put the money
0:42:43 > 0:42:47towards building his new workshop in West Yorkshire,
0:42:47 > 0:42:50and he's made a name for himself on the London art scene.
0:42:50 > 0:42:51That's it for today.
0:42:51 > 0:42:54But join us next time on Show Me The Monet,
0:42:54 > 0:42:58when the judges will be meeting more ambitious artists.
0:43:08 > 0:43:11Subtitles by Red Bee Media Ltd