Episode 4 Show Me the Monet



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Britain's top artists make big money.

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Their works can go for millions.

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Nine million five. Ten million. Ten million five. 11 million.

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Up and down the country, thousands of ordinary people

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are also trying to get a piece of the action.

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They're putting their necks on the block for the chance

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to sell at the hottest exhibition in town.

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That would be the biggest exhibition I've ever been involved in.

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It'd be out of this world to see my work hung up on a wall.

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Being here today is a dream come true for me.

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These artists could stand to make some serious cash.

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-£2,500.

-£2,000.

-12,500 on it.

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But first, they need the seal of approval

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from three of the art world's toughest critics.

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Who would buy it and why?

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Their hopes are in the hands of the Hanging Committee.

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I don't think this photograph is any good.

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It's monumental in a way, isn't it?

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It's time to Show Me The Monet.

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Hello and welcome to Show Me The Monet.

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Over the past few months, ambitious artists,

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both amateur and professional,

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have been facing our rigorous judging panel,

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the Hanging Committee.

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Roy Bolton is an experienced art dealer.

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He's sold thousands of paintings over the years and has an eye

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for art that sells.

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Emotion in art is what really matters.

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Art needs soul to be alive.

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Charlotte Mullins is a contemporary art specialist

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who's hoping to uncover a new art superstar.

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I'm looking for originality.

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Artworks that make me see the world in a completely new way.

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And David Lee is a no-nonsense critic who doesn't pull any punches

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when it comes to voicing his opinion.

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Good technique through practise is essential.

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Without it, they'll get nowhere.

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These experts were the gatekeepers to our exhibition.

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Thousands of hopeful artists applied,

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but only the very best would hang their work at the Mall Galleries.

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Definitely, yes.

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Coming up on today's programme,

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an artist who's battled the odds to follow his dream.

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-I was diagnosed with a brain tumour when I was...

-Oh, my goodness!

-..28.

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Roy delivers a few home truths.

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I don't think you're going to like what I'm going to say.

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And David is almost lost for words.

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It's so bad, I can barely think of anything to say about it.

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Eltham Palace, south London, once home to the entire Tudor court.

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It was here

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when the kings and queens of Medieval England once resided,

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that artists from all over the country

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arrived to face the Hanging Committee.

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First up was 42-year-old Michael John Ashcroft, from Preston.

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He was an engineer for a major car manufacturer.

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He only started painting

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when something happened which turned his life upside down.

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I always wanted to be an artist,

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but it took a life-changing moment really to bring it on.

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-I was diagnosed with a brain tumour when I was...

-Oh, my goodness!

-..28.

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And that was a shock out of the blue.

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I got diagnosed with a genetic fault after that,

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which causes multiple head and neck tumours,

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and I've had, I think, four since then.

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My goodness!

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But I've had radiotherapy and I'm fine, but throughout...

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throughout the ordeal, if you like, the illness, art has kept me going.

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See I'm absorbed already. I just love it. I love the power of it.

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Why come here, Show Me The Monet?

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To come and get the chance to show your work

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in front of some great critics.

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I mean, your public see your work,

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but it's not often you get the chance to show art critics.

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What would you do with the money if you did sell?

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Oh, I'd have to treat my two children and my wife.

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They've put up with a lot, take them on holiday. Absolutely.

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You are a fascinating character, and I love the fact

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-that art makes such a difference to your life.

-It does.

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I wish you the very best of luck with those judges.

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-Away there, through that door.

-Thanks, Chris.

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Not only has Michael battled a life-threatening illness,

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this father of two gave up a steady job

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to dedicate his life to painting.

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Has he made the right decision?

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He's hoping his oil on canvas painting

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will prove to the judges that he's got what it takes.

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-Hello, Michael.

-Hello.

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Would you like to introduce your work to us?

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This painting is called The Bridge

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and it's a painting of Canal Street in Manchester.

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It represents my fascination with light and dark

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and the emotional struggle that I've had

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when I was diagnosed with a brain tumour in 1998.

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It's about the dark and light in the bridge, and crossing the bridge,

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and always trying to stay on the bright side of the street,

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and always slipping back to the darkness.

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That constant battle of trying to get back to the light.

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Could you tell us what value you put on your...

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£2,500.

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And is that based on sales that have already been made?

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-It is. Yeah. Two of them.

-Could we have a closer look?

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Please, please do.

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Michael has poured his heart and soul into this painting,

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but to make the exhibition,

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it'll need to stand alone as a work of art.

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Will it be good enough to take him through to the exhibition?

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Michael's family has been through a lot.

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If he sells his painting,

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he's promised to take them all on holiday.

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-What's your view of this painting?

-Such confident brush strokes.

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I think... I love the trees.

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When you're sitting back here, there's a quiet stillness to it.

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But when you get up close to it, there's so much energy

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in some of those brush strokes. The trees are literally alive.

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And yet there still is this tranquillity of the water.

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I've got some issue with the tranquillity of the water.

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Where the light is catching it, just under the bridge,

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that seems like a still canal or any body of water that's still.

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As you come closer, it almost feels to me

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like it's a section of frozen water, it's got a more mottled feeling.

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But yet it's still calm.

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The light was really to draw your eye towards the focal point,

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which was the bridge,

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and about the passage from the dark to the light.

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Michael has clearly been through a lot in his life

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and his work reflects the ups and downs.

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It's a highly emotional piece for him,

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-but will the judges make that connection?

-I know this street.

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I remember it when it was...

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This was a squalid strip of open sewer with all sorts in it.

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I suppose in a way it's a symbol for the regeneration

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of a down-at-heel city.

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So, I'm predisposed to like it, for probably the wrong reasons.

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If I owned this picture and I looked at it every day,

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everything you're saying, without me having never met you,

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would, I think, be imparted.

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It all reflects a certain sense

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of subtle eeriness, depression, dark is bad.

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My only criticism

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is your emotional involvement with the work

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doesn't necessarily come over to me.

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Very mixed reactions from the judges.

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There's a lot riding on this for Michael.

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He needs their approval to confirm he has the talent

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to make it as a successful artist.

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Is his painting good enough to secure him a spot in the limelight?

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Charlotte.

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I'm going to say, yes.

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Charlotte didn't make the emotional connection.

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But the painting did enough to gain her yes vote.

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Just one more needed.

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I'm not going to reject it

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on account of its rather stolid traditionalism,

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because I think you've made a very good attempt at this,

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so I'll say, yes, as well.

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It's unnecessary now for me to say anything, but a qualified, yes.

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There are elements you should work on in the future, but it's yes.

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-It's yes.

-Oh, thanks!

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It's a triumph for Michael. He's off to the exhibition.

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But will he sell his work and earn some cash for that family holiday?

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The Mall Galleries, London.

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Michael's Manchester canal scene took its place on the wall

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at one of the hottest exhibitions of the year.

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The room was filled with dealers, collectors and the general public,

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and Michael was enjoying every minute of it.

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Just to walk in and just have a little glimpse of where it is,

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yeah, it's a nice feeling, I must say.

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If anyone wanted to make an offer on his work, it was made in secret,

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and was subject to a 10% sales commission.

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The picture of the Manchester canal,

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I think that's possibly going to sell.

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-I think this is lovely.

-Thanks very much.

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-It is the colours that attract one's eye.

-Yeah.

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The results of the bidding were only revealed after the exhibition,

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when I opened a sealed envelope for the first time.

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-Michael, nice to see you.

-Great to see you.

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You looked as if you were having a ball last night.

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It was a fantastic night.

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Absolutely fantastic, we've thoroughly enjoyed it.

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-Got approached by a gallery, which was great.

-Did you?

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-Yeah.

-Oh, I like this. What did they say?

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They took a card, and they were interested in my work,

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and they were opening a new gallery in Richmond,

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so, we'll see what happens.

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So a bit of wheeling and dealing.

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Because if I remember correctly, how much did you want to sell this for?

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It was £2,500.

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-So about £2,500.

-Yeah.

-So, here we go.

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Well Michael, you wanted £2,500 for this painting.

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You made contacts. You schmoozed.

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-You look as if you're building a career.

-Yeah.

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Did you make any money tonight?

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Well, we had one offer.

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And it was for...

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£1,000.

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-Was it?

-Mmm.

-OK.

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-£1,000. What do you think?

-Disappointing.

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So, £1,000. Is that enough for you?

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Not really for this piece.

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No, I know it'll bring the asking price. Definitely, for sure.

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-So, it's a no sale.

-No sale.

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Give this man a round of applause.

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So, Michael didn't sell, which was lucky,

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because after the exhibition he did get the full asking price,

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and he's had his first major solo exhibition in Lancashire.

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For many aspiring artists,

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the Hanging Committee was the chance of a lifetime.

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But only the very best would win a place at the Mall Galleries.

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Professional artist, Emma Fenlon, presented her sculpture,

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inspired by her childhood memories of houses.

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My granny lived in a... sort of like a manor house,

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which was mocked up like a castle.

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They used to lock us out and we used to go in

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one of the other 500 doors all over the place and explore and explore.

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Roy just couldn't feel the connection.

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I spent my childhood rambling around ruined castles.

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Loads of memories are very strong.

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I don't feel like I'm part of this in any way.

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But David had a very different response.

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I want to examine it, as I would with anything that was made

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with love and belief, as this is.

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I like follies, yes.

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But with only one yes vote, Emma didn't manage to make it through.

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Working mum, Pauline Yates, wanted £750 for her photograph

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of a busy Cambridge street.

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It encapsulates classic Cambridge to me.

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There's the bikes, there's the footfall, the students.

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Charlotte thought it was an attractive image.

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That's beautifully done.

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I'm not criticising your technical ability.

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But she struggled with its originality.

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You don't make me see Cambridge in a new light.

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You're not surprising me.

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In the end, it wasn't quite enough for the judges.

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I think Pauline may be the kind of person

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who you need to see a body of work.

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-Not far enough for me, sorry. No.

-OK.

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Next up was professional artist, Perdita Sinclair,

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with her creatively-titled painting, Show Me The Manet.

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I wanted to do a version of Manet's famous painting,

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and set it in a very confused setting of the modern world.

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It was based on the well-known work, Le Dejeuner Sur L'herb

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by Edouard Manet, but it got off to a bad start with Roy.

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Using a very famous painting as the skeleton

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turns me off right away, as a standalone, proper work of art.

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Don't you feel that every artist, as they sort of progress

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through their career,

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should continually look back at other artists?

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Charlotte agreed with Perdita's idea.

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I actually like contemporary painters who look back,

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and look back at art history, so I feel like I'm in your camp

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-as much as I can be at the beginning.

-But she didn't feel Perdita

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had achieved anything new with her painting.

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I'm just not sure you have communicated

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what you're trying to say with using this old image.

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-I am going to have to say, no, on this painting.

-OK.

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Professional artist, Jodie Philips, brought along her abstract painting

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of the Japanese nuclear disaster at Fukushima.

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I was very moved by the tsunami

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and subsequent nuclear disaster in Japan.

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David was unconvinced by the painting's abstract nature.

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I can't understand why you don't just paint what's there.

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I mean just the fact that we could identify as a power station

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would make it then a more interesting image.

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And for Charlotte too, it was Jodie's style that cost her

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a place at the Mall.

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It's a particularly loaded, heavy subject.

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And yet the palette and even the style, is quite decorative.

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And the pink sky with the white fluffy swirls.

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It's a no from me, Jodie.

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Next to arrive at the palace

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was 18-year-old Leon Cheung, from Shropshire.

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His interest in sculpture was sparked in the kitchens

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of his family's restaurant,

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and now he's decided he wants to become a full-time artist.

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Welcome to Show Me The Monet.

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So, your family happy about that,

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that you're going into an artistic career?

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Well, there's been a bit of debate, cos they're quite traditional.

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-Right.

-So they want me to do a more serious profession,

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like be a doctor or a lawyer, something along those lines anyway.

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So, how did you pick up an interest in art anyway?

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Well, I did loads of garnish sculpting.

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I did garnish sculpting for the restaurants,

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made them look pretty and stuff,

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and then, how can I apply my current skills and translate that

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into a different medium?

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So, you know, from carving carrots and stuff like that,

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I translated it to clay.

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Yeah, never have I asked myself,

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"What can I do with a carrot that I can do with ceramics?"

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but that's what an artist's life is like, I suppose.

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-Er, innovating!

-Yeah, exactly!

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If you manage to sell your piece at the exhibition,

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what would you spend the money on?

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In handling money, I'm quite dynamic!

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I like to reinvest it in my work.

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Good luck. The judges are through there.

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-It's been a pleasure meeting you.

-We'll see you afterwards.

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-Just through that door.

-Thank you.

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Leon is brimming with ambition.

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He's ignoring his parents' pleas to get a sensible career

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and is determined to become an artist.

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A place at the exhibition would prove to them

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he has made the right decision.

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His hopes rest with this polymer clay sculpture, entitled Sprint.

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-Hello, Leon.

-Hi.

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Please tell us about your work.

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For this piece, I wanted to, um...

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How did I start?

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Can we start again? I'm sorry.

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Erm...

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Sorry, I've completely forgot my line.

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It's fine.

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This sculpture was previously in another competition.

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I managed to secure third place in a national competition

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based around the theme of the Paralympics.

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For this piece, I wanted to draw on inspirations from

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the Renaissance artists, such as Leonardo Da Vinci, Michelangelo.

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In the Sistine Chapel there's a painting of a character, a figure

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on the left side of God, holding a skin in the clouds.

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And then, you know, I just based my ideas on that

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and how I can, like, incorporate it in this sculpture.

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Leon, what's the price you put on this sculpture?

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Um...

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£5,000.

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£5,000.

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How did you come to that figure?

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I had a private offer of £4,000.

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I would have snapped that up!

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-I would, too.

-I didn't give an answer back.

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Why didn't you take it? Is it because you wanted to see...

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I just wanted to see what, you know, what comes on my plate,

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as it comes, I don't know.

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We're going to come and have a look.

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Wow! Leon's turned down some serious cash there.

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He said he wants to reinvest any money he makes back into his work.

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Well, £4,00 would buy him quite a bit of clay.

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But perhaps he's hoping he'll get an even better offer

0:17:510:17:54

if he gets through to the exhibition.

0:17:540:17:55

-Are you studying art?

-Yes.

0:18:050:18:06

Are you a BA student, or...

0:18:060:18:08

I'm still doing my A-levels.

0:18:080:18:10

Are you? How old are you?

0:18:100:18:12

Just turned 18.

0:18:120:18:13

Oh, my goodness! You look older, that must be useful!

0:18:130:18:16

-Err, thanks!

-Tell her the same thing!

0:18:160:18:19

Yeah! Yes, thank you.

0:18:190:18:21

I wouldn't, if I was you. Leon's got youth on his side,

0:18:210:18:24

but has he won the judges over with his artistic skills?

0:18:240:18:27

Why did you have him hoisted, dangling from that armature,

0:18:270:18:31

rather than in a more earth-bound pose?

0:18:310:18:36

No, I wanted it to be, like, dynamic, frozen in time.

0:18:360:18:40

Well, can't it be dynamic standing on the ground?

0:18:400:18:42

But this is just, like, I wanted to express feelings

0:18:420:18:44

of determination, focus and aggression

0:18:440:18:47

at the very initial start of the race. That literal, like...

0:18:470:18:50

It looks like they're doing the long jump at the moment, cos it's so off the ground.

0:18:500:18:54

Maybe, if that's your intention, have it lower.

0:18:540:18:56

Off the ground maybe, if you like.

0:18:560:18:58

I just want to make it look dynamic.

0:18:580:18:59

Michelangelo, who you mentioned,

0:18:590:19:01

made his sculptures look dynamic and didn't have them

0:19:010:19:05

sort of looking as though they were leaping over the moon.

0:19:050:19:08

I quite like the idea that this figure is flying through the air,

0:19:080:19:11

only for novelty reasons, I don't think I've seen that,

0:19:110:19:14

but I seriously dislike the pole stabbed into the back.

0:19:140:19:17

I was just going to mention the modelling.

0:19:170:19:20

It looks like plastic spaghetti to me,

0:19:200:19:24

it doesn't look like muscle fibre.

0:19:240:19:28

I chose this material over potters' clay,

0:19:280:19:30

because the properties of this material are second to none,

0:19:300:19:34

in terms of, like, holding and retaining the detail.

0:19:340:19:37

Really fine, intricate detail,

0:19:370:19:39

which you can't achieve with traditional clay.

0:19:390:19:41

-The detail's very impressive.

-Thanks!

0:19:410:19:43

You know, I hate my hat off to you.

0:19:430:19:45

18, working on something like that - you know, it's ambitious.

0:19:450:19:49

But it does look a bit like...

0:19:490:19:51

a toy.

0:19:510:19:53

A sort of superhero character from a game.

0:19:530:19:56

I thought it the tackiest object I'd ever seen

0:19:560:19:59

when it was unveiled, but it does have something new.

0:19:590:20:03

Well, David is intrigued by Leon's sculpture,

0:20:030:20:06

and Roy liked the novelty value in it.

0:20:060:20:08

It's hard to predict how this vote will go.

0:20:080:20:11

Roy, would you like to go first?

0:20:120:20:15

Leon, it just doesn't grab me.

0:20:170:20:19

OK, thank you.

0:20:200:20:22

David.

0:20:220:20:23

Yeah, I don't like this, at all.

0:20:300:20:33

There's all sorts wrong with it.

0:20:360:20:38

I'm going to say yes.

0:20:410:20:42

Thank you, David.

0:20:420:20:43

Oh, Leon, you have one yes and one no.

0:20:430:20:46

I'm afraid I'm going to say no.

0:20:530:20:55

-OK, thank you.

-Which means it won't make the exhibition,

0:20:550:20:57

but it has been a pleasure to meet you, and to see your work.

0:20:570:21:00

It's been a pleasure meeting the three of you.

0:21:000:21:03

-All right, thank you.

-Cheerio.

0:21:030:21:05

Well, that's a blow for Leon. He hasn't made it through,

0:21:050:21:07

but I hope his dreams of becoming an artist don't stop here.

0:21:070:21:11

-Bad luck!

-Ah, well.

0:21:130:21:15

Deep breath.

0:21:150:21:17

Sadly you didn't get to the exhibition.

0:21:170:21:20

What have you learnt?

0:21:200:21:21

Take on board what they have to say, respect it,

0:21:210:21:23

and then just try again next time.

0:21:230:21:25

-Well, it's been a real pleasure to meet you.

-Thank you.

0:21:250:21:28

-Safe journey home.

-Thank you.

0:21:280:21:29

-Take care.

-Take care.

0:21:290:21:31

The next artist hoping to impress our judges

0:21:330:21:35

was 46-year-old former hairdresser, Maureen Domoney.

0:21:350:21:39

Maureen has dreamt of being an artist her whole life,

0:21:390:21:42

but only started painting last year

0:21:420:21:45

after finding the confidence to pick up a brush for the first time.

0:21:450:21:48

-You look a little bit nervous.

-So nervous!

0:21:480:21:50

Are you really? Welcome.

0:21:500:21:52

Are you a full-time artist?

0:21:520:21:54

-I'm a full-time mum, and full-time artist.

-Right.

0:21:540:21:56

I left school when I was 16.

0:21:560:21:59

My art teacher told me I lacked the imagination to go to art college

0:21:590:22:03

and therefore I didn't think that I could, so I became a hairdresser.

0:22:030:22:07

What would be your dream? What would you like to do in the art world?

0:22:070:22:11

I would like to sell my paintings for quite a lot of money.

0:22:110:22:15

OK!

0:22:150:22:16

-So I can support my small family properly.

-Right.

0:22:160:22:19

You know, we struggle.

0:22:190:22:20

I mean, what would it mean to you, then?

0:22:200:22:22

-I wouldn't believe it!

-Yeah?

0:22:220:22:24

I think I'd like to be told I'm not wasting my time.

0:22:240:22:27

Yes, yeah.

0:22:270:22:29

-A lot at stake. Good luck.

-Thank you.

0:22:290:22:32

-The judges await. Keep smiling.

-Thank you. OK.

0:22:320:22:35

This is going to be quite an ordeal for self-taught Maureen.

0:22:360:22:40

And with so much riding on the judges' decision,

0:22:400:22:42

she's going to need nerves of steel.

0:22:420:22:45

'I'm terrified of walking down that huge hall

0:22:450:22:48

'towards the Hanging Committee,

0:22:480:22:50

'and having to talk about my work, and justify my work.

0:22:500:22:55

'I find that quite scary.'

0:22:550:22:57

It's make or break for Maureen right now.

0:22:570:23:00

She wants a straight answer to a straight question -

0:23:000:23:02

is she wasting her time?

0:23:020:23:05

Her hopes and dreams all rest on this oil painting,

0:23:050:23:09

which she's called Water Baby.

0:23:090:23:11

-Hello, Maureen.

-Hello.

0:23:200:23:22

-Welcome to the Hanging Committee.

-Thank you.

0:23:220:23:24

Please tell us about your painting.

0:23:240:23:26

Well this is a painting of my son, Freddie, in the bath,

0:23:260:23:30

and it sort of was a happy accident, really.

0:23:300:23:32

I was jut snapping away with the camera.

0:23:320:23:35

I've been drawing for quite a few years,

0:23:350:23:38

but I've only been painting for about 18 months,

0:23:380:23:40

so I've been on a very steep learning curve.

0:23:400:23:44

I started with acrylics, and this is my first oil painting.

0:23:440:23:48

And what value do you place on this work?

0:23:490:23:51

£300.

0:23:510:23:53

300.

0:23:530:23:54

We'll come and take a closer look.

0:23:540:23:56

Maureen's a bundle of nerves, and this can't be helping...

0:24:000:24:04

..her very first oil painting just inches from the eyes

0:24:050:24:08

of three of the leading critics in the art world.

0:24:080:24:12

Her dream is to be able to help support her family

0:24:150:24:18

from the sales of her paintings,

0:24:180:24:20

so a spot at the Mall Galleries would be the perfect place to start.

0:24:200:24:23

I mean, for a first attempt that face is really...

0:24:420:24:44

He's a cheeky chap isn't he?

0:24:440:24:46

It's not bad.

0:24:460:24:47

But the water is the problem for me.

0:24:470:24:50

This is an image about...

0:24:500:24:51

What, where the surface of the water actually is?

0:24:510:24:53

Where the surface of the water hits the face

0:24:530:24:55

and conveying the sense of water across the rest of the image.

0:24:550:24:58

Yeah.

0:24:580:24:59

It's like an abstract blue ground.

0:24:590:25:01

It looks like a background, the rest of it.

0:25:010:25:04

As I said, this is my first oil painting,

0:25:040:25:06

and my learning curve has been very steep,

0:25:060:25:09

and I'm learning each time.

0:25:090:25:11

For a first oil painting it's...

0:25:110:25:13

I think it's fantastic work, for a first effort.

0:25:130:25:16

I'm astounded.

0:25:160:25:17

But do you realise...

0:25:170:25:20

..that this is a very freakish-looking image?

0:25:210:25:24

Yes, I do. To me, it's not freaky. But...

0:25:250:25:30

Mmm, that's what I thought.

0:25:300:25:32

Some of my friends, my son's friends, yeah, find it quite spooky.

0:25:320:25:35

That's what I thought.

0:25:350:25:37

This is the problem with painting from photographs,

0:25:370:25:39

that you get the shadows, the lighting that was at that moment.

0:25:390:25:42

This is lit from underneath.

0:25:420:25:44

It's a horror, it's a horror image.

0:25:440:25:46

It doesn't say any of the things that I think you see in it because you see them.

0:25:460:25:50

OK, yeah.

0:25:500:25:51

A horror image?

0:25:510:25:52

Steady on, Roy, that's Maureen's son you're talking about here.

0:25:520:25:55

What was wrong with the photograph?

0:25:570:25:58

Are you saying that I should just use a photo?

0:26:000:26:03

What does a painting add that you don't get from the photograph?

0:26:030:26:07

I think, for me, with this photograph

0:26:080:26:10

I just thought I could add more depth.

0:26:100:26:12

And I just had the overwhelming desire to paint it.

0:26:140:26:18

It's a tricksy idea to try and paint a child in the bath.

0:26:180:26:21

The water isn't successful, but the face is,

0:26:210:26:24

and for a first attempt I really think you've got something

0:26:240:26:27

as a portrait artist.

0:26:270:26:29

So I would say, cut out the tricks,

0:26:290:26:31

and stick to simple portraits of your son, or other children,

0:26:310:26:35

because, actually, that's very good, and could be really good.

0:26:350:26:39

Thank you.

0:26:390:26:41

It was quite important for me to feel that I'm not wasting my time...

0:26:410:26:44

-No.

-You're not at all.

0:26:440:26:46

That's what I really wanted to hear, so thank you.

0:26:460:26:49

OK, well we are going to take it to a vote.

0:26:490:26:51

We'll just consider your work one last time.

0:26:510:26:53

You're going to say no!

0:26:530:26:55

You never know with us!

0:26:550:26:57

Hang on in there, Maureen.

0:26:590:27:01

The judges haven't pulled the plug on your painting yet.

0:27:010:27:04

Let's see if you're right. Roy.

0:27:040:27:07

Maureen, I look forward to seeing you next year.

0:27:070:27:10

When you have a new and better painting.

0:27:100:27:12

This time, no.

0:27:120:27:14

-David.

-Yeah, bring us a painting next time. No.

0:27:140:27:18

It's no from me.

0:27:180:27:19

You were right, but thank you very much, Maureen, it's good to see it.

0:27:190:27:22

-Thank you.

-Keep it up, seriously.

0:27:220:27:23

Kind words, also. Thank you.

0:27:230:27:25

-You're certainly going in the right direction.

-Thank you. Thank you.

0:27:250:27:28

Maureen won't be joining us at the exhibition,

0:27:280:27:31

but she has got what she came for -

0:27:310:27:33

she's definitely not been wasting her time.

0:27:330:27:36

Oh! Come here, come here. I'll give you a hug!

0:27:360:27:39

I could see that was quite tough work for you, wasn't it?

0:27:400:27:43

Yeah, I was really shaking. Yeah.

0:27:430:27:45

Deep breaths, deep breaths. How was it for you, then?

0:27:450:27:48

Better than I thought.

0:27:480:27:49

I will never have a critique like that again, you know, so...

0:27:490:27:53

-Next year?

-You never know.

-Come back and show another one?

0:27:530:27:56

-We'd love to see you again.

-OK.

0:27:560:27:57

-Cos we'd love to see how you've progressed...

-Yes.

0:27:570:27:59

..and maybe you might have something next time

0:27:590:28:02

-magical enough to be at our exhibition.

-That would be good.

0:28:020:28:05

You better. Good.

0:28:050:28:06

-Lovely to meet you.

-Thank you, take care.

0:28:060:28:08

-See you. Safe journey home.

-Bye.

0:28:080:28:10

We invited artists from all over the country to send in their work,

0:28:100:28:13

and we were overwhelmed with the response.

0:28:130:28:16

Paintings, photographs, drawings and sculptures,

0:28:160:28:19

all of an incredibly high standard.

0:28:190:28:22

Next up at the palace was 18-year-old student Mark Izatt.

0:28:240:28:27

Mark's dream is to show his art in galleries all over the world.

0:28:270:28:32

But he's not actually studying art - he's studying English literature.

0:28:320:28:36

-Hi, Mark. Nice to meet you.

-Nice to meet you too.

0:28:360:28:39

I thought it'd be great to have a sort of academic basis to my art.

0:28:390:28:42

Was it a bit of a struggle?

0:28:420:28:44

Yeah, a really hard decision to choose between art and English,

0:28:440:28:48

but I think it's good to read a lot and use that

0:28:480:28:50

as a basis of creating art.

0:28:500:28:53

-No regrets so far?

-No, not yet!

0:28:530:28:55

Good, that is a good sign.

0:28:550:28:57

What would it mean, then, for you,

0:28:570:28:59

if you can get two yeses from the judges, to get to the exhibition?

0:28:590:29:02

It would mean that my work has a bit more credibility.

0:29:020:29:06

It would give me confidence.

0:29:060:29:07

If you sold at the exhibition, what would you spend it on?

0:29:070:29:10

I'd love to go on a trip to somewhere like Iceland,

0:29:100:29:12

see the Northern Lights, something really inspiring like that.

0:29:120:29:15

OK, well I wish you the best of luck. Give as good as you get,

0:29:150:29:18

-and the judges are awaiting through that door.

-Thank you very much.

0:29:180:29:22

Literature student Mark has a real opportunity here.

0:29:220:29:25

A career in the art world and a trip to see the Northern Lights

0:29:250:29:29

are both within his grasp

0:29:290:29:31

if things go his way in the next few minutes.

0:29:310:29:33

He's brought along this pencil drawing

0:29:330:29:35

he hopes will impress the hanging committee.

0:29:350:29:38

-Mark, hello.

-Hi.

0:29:500:29:51

Would you like to tell us something about your drawing?

0:29:510:29:54

Yeah, this is my illustration of Dido from Virgil's Aeneid.

0:29:540:29:57

And it's the moment when her lover, Aeneid, has left her,

0:29:570:30:01

and she's killed herself, and kind of,

0:30:010:30:03

she's pinned to the bed, and to the domestic setting,

0:30:030:30:07

and I made her out of tights to kind of, as a symbol of femininity,

0:30:070:30:10

and as a victim, I suppose.

0:30:100:30:12

And how much would you charge someone who was buying this drawing?

0:30:130:30:17

-I wouldn't want to let it go for anything under about 650.

-Right.

0:30:170:30:21

I would suggest, in a gallery setting, that that's far too cheap.

0:30:210:30:25

OK. Could I ask what sort of price you might put on it?

0:30:250:30:27

It would not be out of place at two, or even three times that price.

0:30:270:30:31

Phew! If student Mark makes it to the exhibition

0:30:320:30:36

he might want to rethink that price tag.

0:30:360:30:38

His intriguing drawing is inspired by an ancient classic epic

0:30:410:30:44

written by a Roman poet,

0:30:440:30:46

a tragic love story in which Dido - Queen of Carthage -

0:30:460:30:50

takes her own life after being dumped by her lover.

0:30:500:30:54

Pretty harrowing stuff.

0:30:540:30:55

But will the judges be able to read all that in the drawing?

0:30:550:30:59

Mark, in my remembrance, Dido killed herself from lost love.

0:31:120:31:18

She killed herself falling on her own sword.

0:31:180:31:21

It seems to be a working of that from the inside,

0:31:210:31:23

it's her entrails being taken out with a pitchfork, literally.

0:31:230:31:28

Then there's the boat that her lover sailed away on.

0:31:280:31:31

You've obviously made this, it's a very suggestive figure,

0:31:310:31:35

in terms of the parts look kind of almost intestinal,

0:31:350:31:37

or anthropomorphic, but we do not have a woman

0:31:370:31:41

pinned on the bed with a pitchfork, it's your interpretation of it.

0:31:410:31:45

But you made this, a sculpture...

0:31:450:31:47

Yeah.

0:31:470:31:48

..to then draw.

0:31:480:31:50

Why did you not just present the tights as the sculpture?

0:31:500:31:53

I think I just wanted to guide people of how to look at it,

0:31:530:31:57

and a composition with the angles and the certain folds of the fabric.

0:31:570:32:03

-It seemed to me to be entrails, and that makes sense to me.

-Yeah.

0:32:030:32:06

Did it cross your mind that that would have been a better prop?

0:32:060:32:08

Do you mean real entrails?

0:32:080:32:10

-Yes.

-Oh!

0:32:100:32:12

Yeah. Less practical.

0:32:130:32:15

THEY LAUGH

0:32:150:32:17

Yes, it's not often we discuss entrails on Show Me The Monet.

0:32:170:32:21

Roy's really getting into the subject matter here.

0:32:210:32:24

Do we think this is rather, rather an interesting,

0:32:260:32:30

-surreal take on the classics?

-I am fascinated by it.

0:32:300:32:33

-Yeah.

-And he obviously, has read and appreciated the classics,

0:32:330:32:37

which I would say is fairly rare these days.

0:32:370:32:39

I don't think you need to know about the classics.

0:32:390:32:41

It's a startling image without the classical allusion.

0:32:410:32:46

Are you a student? Have you just graduated?

0:32:460:32:48

Yeah, I'm a lit student, in my first year at the moment.

0:32:480:32:51

-A what student?

-English literature.

0:32:510:32:54

-Really?

-Yeah.

0:32:540:32:55

Did you study art before that?

0:32:550:32:57

Yeah, I did it up to A-level.

0:32:570:32:58

-And that's all?

-Yeah.

0:32:580:33:00

The work is very mature for someone who's not studied beyond A-level.

0:33:000:33:04

You can see your understanding of drawing,

0:33:040:33:08

that you've looked properly at old master drawings,

0:33:080:33:13

just the way you use the colours, the technique - it's assured.

0:33:130:33:17

Thank you.

0:33:170:33:18

The judges seem surprised by Mark's limited art training,

0:33:180:33:22

and impressed by his literary knowledge.

0:33:220:33:25

But is his work good enough to grace the walls of the Mall Galleries?

0:33:250:33:28

We're about to find out.

0:33:280:33:29

-Mark, absolutely. Yes.

-Thank you.

0:33:330:33:35

Charlotte?

0:33:360:33:38

You have a rare talent, yes.

0:33:380:33:39

Thank you.

0:33:390:33:41

-Definitely, yes.

-Thank you very much.

0:33:410:33:44

-See you at the Mall.

-Goodbye.

0:33:440:33:46

Unbelievable. Three yeses - Mark is off to the exhibition.

0:33:460:33:50

But will he make a sale and raise some money for that trip to see the Northern Lights?

0:33:500:33:54

He's going to go far.

0:33:540:33:57

The Mall Galleries, London.

0:33:570:33:58

Mark's drawing took its place on the wall at our prestigious exhibition.

0:33:580:34:03

18-year-old Mark was the youngest artist to hang his work

0:34:030:34:06

and was enjoying his moment in the limelight.

0:34:060:34:09

I mean it's really weird to see people looking at my art and talking about it.

0:34:090:34:13

But it's really exciting at the same time.

0:34:130:34:15

His work was attracting a lot of attention,

0:34:150:34:19

but would anyone want to take it home with them?

0:34:190:34:21

I think, for a young lad of 18, producing this imagery today...

0:34:210:34:25

This pencil drawing is superb, absolutely superb. Very impressed.

0:34:250:34:30

Any bids were made in secret

0:34:300:34:31

and were subject to a 10% commission on the final sale.

0:34:310:34:34

The results of the bidding were handed to me in a sealed envelope

0:34:340:34:38

and only revealed to the artist after the exhibition.

0:34:380:34:42

Mark, nice to see you again.

0:34:430:34:45

-Nice to see you.

-How old are you?

0:34:450:34:47

-I'm 18.

-So, obviously just beginning.

0:34:470:34:50

Just starting out, yeah.

0:34:500:34:51

Must have been a great experience for you.

0:34:510:34:53

Yeah, it's the first time I've ever hung anything in an exhibition

0:34:530:34:56

or even had a chance of selling, so it's been really good.

0:34:560:34:59

And were you surprised by yourself, how easy you found it to speak to people?

0:34:590:35:03

Maybe sell, do some business?

0:35:030:35:05

The free wine helped, as well, but it was good.

0:35:050:35:08

What did people say to you? Did they swap cards?

0:35:080:35:10

Did they say "Contact me, give me a call, or email me?"

0:35:100:35:12

I got a few cards, interest, yeah, for future work.

0:35:120:35:18

So just remind me how much you wanted for this.

0:35:180:35:21

In the Hanging Committee I said 650, but I really took the judges' advice

0:35:210:35:25

on board, cos they thought I should go higher.

0:35:250:35:27

So I went up to £1,200 for the exhibition.

0:35:270:35:30

-Yeah, cos they did say 650's nothing.

-Yeah.

0:35:300:35:33

OK, well we'll see.

0:35:330:35:35

OK then, Mark.

0:35:370:35:39

-You wanted £1,200.

-Yes.

0:35:400:35:43

-You didn't get any offers.

-That's OK.

0:35:480:35:50

CROWD: Ohh!

0:35:500:35:52

Cos we think it's fantastic.

0:35:520:35:54

Well, thank you.

0:35:540:35:55

No, it was such a good experience,

0:35:550:35:57

and I wasn't really expecting to come away with any money,

0:35:570:36:00

so I'm just happy to have got this far,

0:36:000:36:02

and really proud that my work's hung in a gallery, and stuff like that.

0:36:020:36:05

-It's been a pleasure to meet you.

-Nice to meet you.

0:36:050:36:07

I'm sorry we didn't sell,

0:36:070:36:09

-but to get to our exhibition was fantastic, and good luck in the future.

-Thank you.

0:36:090:36:12

APPLAUSE

0:36:120:36:14

No sale this time for Mark

0:36:140:36:16

but what an experience for the young artist.

0:36:160:36:18

Next to face the Hanging Committee was 70-year-old John Ross,

0:36:240:36:28

a retired vicar from Wickham.

0:36:280:36:30

Now, if you're thinking he looks a bit familiar,

0:36:300:36:33

it's because John is no stranger to Show Me The Monet.

0:36:330:36:36

He made it through to last year's Hanging Committee,

0:36:360:36:39

but his painting of an elephant didn't get the reaction he was hoping for.

0:36:390:36:43

Have you observed elephants in the wild yourself?

0:36:430:36:46

No, I haven't.

0:36:460:36:47

There are too many random elements that don't tie in together.

0:36:470:36:51

It looks like a giant shrew to me.

0:36:510:36:55

Go back to the drawing board, literally.

0:36:550:36:57

In the end, John, serious artists don't paint elephants.

0:36:570:37:00

It's no, I'm afraid.

0:37:000:37:02

Well, John's back, hoping to prove that the judges made a big mistake.

0:37:020:37:06

You got a rough ride and this would probably be

0:37:060:37:09

the last place I'd come back to.

0:37:090:37:11

-Can you remember it?

-Yes, I remember it.

0:37:110:37:14

-Now, you've got to go back and face these judges again.

-I have.

0:37:140:37:17

-You've done it.

-I have.

0:37:170:37:18

Be honest, who do you fear the most in terms of the judges?

0:37:180:37:21

It's not fear so much

0:37:210:37:22

but David certainly came across as the most stringent.

0:37:220:37:26

Yes! I love the use of the word "stringent", yes.

0:37:260:37:29

OK, if you did sell, what would you do with the money?

0:37:290:37:32

Oh, put it on canvases.

0:37:320:37:33

-All right, well, good luck.

-Thank you.

0:37:330:37:36

I'm really looking forward to Show Me The Monet Two, involving you!

0:37:360:37:40

-Away you go, through that door.

-Thank you now.

0:37:400:37:43

You have to admire John.

0:37:460:37:48

It takes guts to go in front of the Hanging Committee once,

0:37:480:37:52

but is it madness to go in front of them twice?

0:37:520:37:54

And this time he's brought a colourful piece

0:37:540:37:56

entitled Late Autumn Trees.

0:37:560:37:59

So, will the judges have a better reaction to this year's painting?

0:37:590:38:03

-John, welcome back.

-Thank you very much.

0:38:040:38:07

-You must be a glutton for punishment.

-I certainly am.

0:38:070:38:09

Would you like to introduce your painting for us?

0:38:090:38:12

This painting came about because I was driving through Northumberland, the countryside.

0:38:120:38:17

And about a mile away on the right I saw the hill,

0:38:170:38:19

and I saw these silhouetted bushes or trees.

0:38:190:38:22

I thought I'd like to paint those, there was something rather special about it.

0:38:220:38:25

It didn't turn out quite the same as what I was looking at

0:38:250:38:27

in the camera because, in fact, this here wasn't a cliff,

0:38:270:38:32

it was green fields,

0:38:320:38:34

it wasn't this crimson red with the leaves, in fact it was green leaves.

0:38:340:38:38

Everything was a bit lifeless.

0:38:380:38:40

I changed the blue, it was a kind of wishy-washy ultramarine

0:38:400:38:42

when I was looking at it, so I changed it to that.

0:38:420:38:46

I thought I took the best of nature, really,

0:38:460:38:48

and tried to put a two pennyworth of myself into it.

0:38:480:38:52

OK, thank you. What price do you put on this?

0:38:520:38:55

About 550, I thought, but I really don't know.

0:38:550:38:58

Well, we'll come back to that after we've had a closer look at it.

0:38:580:39:01

I love John's style -

0:39:020:39:04

the real world just isn't colourful enough, so he changes it.

0:39:040:39:08

Why not?

0:39:080:39:09

Once again, his work will be judged on its originality,

0:39:090:39:12

his technique, and if it has an emotional impact.

0:39:120:39:15

And John will still need two judges to vote yes

0:39:150:39:18

to make it through to the exhibition.

0:39:180:39:20

John, I do admire the way that you take nature

0:39:350:39:39

and completely rearrange it to your own ends.

0:39:390:39:41

It takes a lot of guts to do it,

0:39:410:39:44

but it takes a lot of skill to do it convincingly.

0:39:440:39:47

My question is, why did you choose...

0:39:470:39:52

to get rid of the foreground, make it black?

0:39:520:39:55

Are they leaves, the pink dashes on the black foreground?

0:39:550:39:58

Yes. I might say, this is the third painting of this.

0:39:580:40:02

The first one was very much as I photographed it,

0:40:020:40:06

although I had to brighten it up because the leaves and the grass were so...

0:40:060:40:10

-I don't know what the word is.

-Sorry, just let me get this right.

0:40:100:40:12

-You based that on a photograph?

-Oh, yes.

0:40:120:40:15

What kind of trees are they?

0:40:150:40:17

From a distance they look like small trees,

0:40:170:40:20

-but I think it may have been a hawthorn hedge.

-Small pink ones!

0:40:200:40:23

-Well...

-Frankly, John has said he's changed the foreground,

0:40:230:40:27

the sky, the tree colour.

0:40:270:40:29

This is an imaginative landscape, I don't think we should be

0:40:290:40:31

getting hung up on what kind of trees these were.

0:40:310:40:34

-They're bushes.

-let's move on to the sky, in that case,

0:40:340:40:36

which looks like he's been painting a door to me.

0:40:360:40:40

I mean, where the sky meets the floor, between those trees,

0:40:400:40:44

I mean, it's...

0:40:440:40:45

I mean, it's just a kind of blue thing.

0:40:450:40:48

John, since we last saw you, have you sold work?

0:40:500:40:52

The last time was after this programme.

0:40:520:40:55

A viewer phoned up, contacted me

0:40:550:40:57

and bought the painting of the elephants.

0:40:570:40:59

-Oh, how lovely!

-The elephant, by the way.

0:40:590:41:01

Oh, it was an elephant was it?

0:41:010:41:03

-Oh, yes, definitely an elephant.

-I seem to remember it was mouse.

0:41:030:41:06

And another one from my work, as well.

0:41:060:41:10

-LAUGHING:

-Look at David's face!

0:41:100:41:12

I think the word is "speechless".

0:41:120:41:14

You see, despite all last year's criticism,

0:41:140:41:18

there is clearly a market for John's work out there.

0:41:180:41:21

John, the way you paint and the way you've reinterpreted this doesn't...

0:41:220:41:28

It just isn't of the standard that I'm looking for for the exhibition.

0:41:280:41:32

John, this falls down in more places

0:41:320:41:35

than the last picture that we saw, I fear.

0:41:350:41:38

I find the foreground inexplicable.

0:41:380:41:42

John, I'm sorry, it's so bad, I...

0:41:420:41:45

..I can barely think of anything to say about it.

0:41:470:41:50

So, we're going to take it to a vote now about whether we want it in the exhibition.

0:41:500:41:54

I don't know how but I think the judges like John's

0:41:540:41:57

colourful landscape even less than his infamous elephant.

0:41:570:42:02

David.

0:42:040:42:05

No.

0:42:050:42:06

It's no, sorry John.

0:42:080:42:09

-John, it's a no from me, I'm afraid.

-Yes, indeed.

0:42:090:42:11

But thank you very much for bringing it in.

0:42:110:42:14

It's been interesting to see it.

0:42:140:42:15

-Thank you very much.

-Thank you.

0:42:150:42:17

-Do you know what that painting needs, John?

-Sorry?

0:42:170:42:19

-Do you know what that painting needs?

-An elephant.

0:42:190:42:21

It needs an elephant between those trees.

0:42:210:42:24

Are you sure you'd recognise an elephant now?

0:42:240:42:27

-Thank you.

-Cheerio.

0:42:270:42:28

Now, you may be mocking, David, but that elephant sold for £300,

0:42:300:42:34

so John could still have the last laugh with this painting.

0:42:340:42:38

Do you realise what's happened?

0:42:380:42:40

We've created a star!

0:42:400:42:42

Well!

0:42:420:42:43

-I've been here before, haven't I?

-You've been here before.

0:42:430:42:46

-I'm not going to say, "How do you think that went?"

-I know how it went!

0:42:460:42:49

It was about as tough as last time, wasn't it?

0:42:490:42:51

Yes, I know. We'll have to change the judges, I think.

0:42:510:42:55

We'll turn one of them on your side.

0:42:550:42:57

I'll have to think of something else.

0:42:570:42:59

Another elephant might do.

0:42:590:43:01

Another elephant!

0:43:010:43:03

Thank you very much indeed. Lovely to see you.

0:43:030:43:05

-Safe journey back to the north east.

-You take care.

0:43:050:43:08

Well, that's it from us, but join us next time,

0:43:120:43:14

when the judges could be giving an artist the chance to show

0:43:140:43:17

and sell their work at the Show Me The Monet exhibition.

0:43:170:43:20

See you then. Bye bye.

0:43:200:43:21

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