0:00:02 > 0:00:04Britain's top artists make big money.
0:00:04 > 0:00:05Their works can go for millions.
0:00:05 > 0:00:09Nine million five. Ten million. Ten million five. Eleven 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 for the chance
0:00:17 > 0:00:20to sell at the hottest exhibition in town.
0:00:20 > 0:00:23It's all consuming. It's everything.
0:00:23 > 0:00:28- I thought they'd eat me alive. - To get something in London would be pretty special.
0:00:28 > 0:00:31These artists could stand to make some serious cash.
0:00:31 > 0:00:34- What price do you put on it? - 14,000.- 14,000?!
0:00:34 > 0:00:37But first, they need the seal of approval
0:00:37 > 0:00:39from three of the art world's toughest critics.
0:00:39 > 0:00:42Your friend nearly died for your art.
0:00:42 > 0:00:45But the question is, was it worth it?
0:00:45 > 0:00:48Their hopes are in the hands of the Hanging Committee.
0:00:48 > 0:00:50What do I think of this?
0:00:50 > 0:00:51What do I think of this?
0:00:51 > 0:00:53I'm on a bit of a knife edge.
0:00:53 > 0:00:55I feel there's a war raging inside me.
0:00:55 > 0:00:58That's three bells. You've won the jackpot.
0:00:58 > 0:01:00It's time to Show Me The Monet.
0:01:04 > 0:01:06Hello and welcome to Show Me The Monet.
0:01:06 > 0:01:08Over the past few months,
0:01:08 > 0:01:11amateur and professional artists have had to withstand
0:01:11 > 0:01:13razor-sharp critique from our judges in the hope
0:01:13 > 0:01:16they get a chance to show and sell their work
0:01:16 > 0:01:19at our prestigious London exhibition at the Mall Galleries.
0:01:19 > 0:01:22But to get there they have to get past
0:01:22 > 0:01:25three of the most demanding critics in the business.
0:01:25 > 0:01:28Charlotte Mullins is our contemporary specialist.
0:01:28 > 0:01:31The author of ten books on art and culture,
0:01:31 > 0:01:35she's selected works for some of the most prestigious art competitions.
0:01:35 > 0:01:37I'm looking for originality,
0:01:37 > 0:01:40because if a work is truly original, you'll never forget it.
0:01:40 > 0:01:42Roy Bolton is our resident money man.
0:01:42 > 0:01:45A fine art dealer of international renown,
0:01:45 > 0:01:48he has valued and sold works for some big-name auction houses.
0:01:48 > 0:01:50Emotion in art is what really matters.
0:01:50 > 0:01:52Art needs soul to be alive.
0:01:52 > 0:01:54And David Lee is the editor of a satirical art magazine.
0:01:54 > 0:01:57Renowned for his straight talking,
0:01:57 > 0:02:01if he thinks something's rubbish he'll come right out and say it.
0:02:01 > 0:02:03Good technique, through practice, is essential.
0:02:03 > 0:02:05Without it, they'll get nowhere.
0:02:05 > 0:02:08Thousands of hopeful artists applied,
0:02:08 > 0:02:09but only the very best
0:02:09 > 0:02:13will be selected to show their work at the Mall Galleries.
0:02:15 > 0:02:18I've reconsidered. I'd like to change my vote.
0:02:21 > 0:02:23Coming up on today's programme,
0:02:23 > 0:02:27one artist reveals a secret he's kept hidden for most of his life.
0:02:27 > 0:02:28It was about opening up,
0:02:28 > 0:02:30and baring myself to the world in some ways, I suppose.
0:02:30 > 0:02:33And the judges discover a rare talent.
0:02:33 > 0:02:36You don't very often come across work that wants to draw you in,
0:02:36 > 0:02:41and which tells you that somebody is trying to communicate with you.
0:02:46 > 0:02:48Eltham Palace, South London.
0:02:48 > 0:02:52An important royal residence from the 14th to the 16th centuries,
0:02:52 > 0:02:53and home in the 1930s
0:02:53 > 0:02:57to society couple Stephen and Virginia Courtauld.
0:02:57 > 0:03:00It was here that the judges set up their Hanging Committee,
0:03:00 > 0:03:03and artists from all over the country came to showcase their work.
0:03:05 > 0:03:08First to face the panel was art student,
0:03:08 > 0:03:12and part-time art restorer, Chris Fittock, from Lancashire.
0:03:12 > 0:03:15A married father of two, he's a man who until very recently
0:03:15 > 0:03:16had a secret.
0:03:18 > 0:03:21Now at 54, he's in his second year at art college,
0:03:21 > 0:03:24and finally in touch with his inner self, and he's about to stand up
0:03:24 > 0:03:29before three very critical judges and lay himself bare.
0:03:29 > 0:03:31Literally.
0:03:48 > 0:03:51- Hello, Chris.- Hi. - Welcome to the Hanging Committee.
0:03:51 > 0:03:53Please tell us about your painting.
0:03:53 > 0:03:55This is my self portrait,
0:03:55 > 0:03:57which I painted from life.
0:03:57 > 0:03:59The title of the painting is called Guilt.
0:04:00 > 0:04:03Two years ago, I started a Fine Art degree,
0:04:03 > 0:04:06and at the same time, I decided also to come out
0:04:06 > 0:04:08and reveal to my fellow students and friends
0:04:08 > 0:04:10that I was a transvestite, a cross-dresser.
0:04:10 > 0:04:13That was unexpected.
0:04:15 > 0:04:19I've been in this position so many times over the years.
0:04:19 > 0:04:22It's a very strong memory of that feeling
0:04:22 > 0:04:25of after that sort of whirlwind
0:04:25 > 0:04:28of what it is in cross-dressing,
0:04:28 > 0:04:30there's quite often that sense of a very big low.
0:04:30 > 0:04:32Because, "Who am I?
0:04:32 > 0:04:34"Why have I done this?"
0:04:34 > 0:04:36You have to admire Chris's courage.
0:04:36 > 0:04:40After a lifetime keeping his cross-dressing hidden from view,
0:04:40 > 0:04:43he's finally laid his stilettos on the table for all to see.
0:04:45 > 0:04:47What valuation do you put on this work?
0:04:47 > 0:04:50I would guess about 3,000.
0:04:50 > 0:04:53£3,000. Have you sold work at that price before?
0:04:53 > 0:04:55No, never, no.
0:04:55 > 0:04:56It's a high price for a first...
0:04:56 > 0:04:59- Yes, yes. - ..oil painting.
0:04:59 > 0:05:02And I would think to knock it down a thousand pounds or so.
0:05:02 > 0:05:05Possibly, yeah. I wouldn't be at all worried about that.
0:05:05 > 0:05:09- Can we take a closer look? - Yeah, of course you can.
0:05:15 > 0:05:18Chris and his family have been through a lot.
0:05:18 > 0:05:20If he manages to sell his painting,
0:05:20 > 0:05:22he's promised to take his wife on holiday.
0:05:22 > 0:05:25But this is about more than just money for him.
0:05:25 > 0:05:28He's finally accepted himself for who he is.
0:05:28 > 0:05:30So has his family.
0:05:30 > 0:05:33He now wants the wider world to accept him, too.
0:05:40 > 0:05:42- You've chosen to paint yourself naked.- Yes.
0:05:42 > 0:05:45You have chosen to really strip yourself back.
0:05:45 > 0:05:47Yeah, it was about opening up
0:05:47 > 0:05:49and baring myself to the world in some ways, I suppose.
0:05:49 > 0:05:52To stare at yourself in the mirror naked for a length of time
0:05:52 > 0:05:53is not an easy one to do.
0:05:53 > 0:05:57It makes it more of an emotional painting, I think, to do that.
0:05:57 > 0:06:00Would you say this was in some ways a therapeutic painting?
0:06:00 > 0:06:03Yeah, definitely. I found it quite difficult to do.
0:06:03 > 0:06:07The judges seem moved by Chris's story.
0:06:07 > 0:06:10But, ultimately, he's being judged on the quality of his art.
0:06:10 > 0:06:12It will have to be original, emotive,
0:06:12 > 0:06:13and technically skilful,
0:06:13 > 0:06:15to earn him a place at the exhibition,
0:06:15 > 0:06:20and he'll need at least two yeses from the judges to go through.
0:06:22 > 0:06:25I like the story it tells, because it's fresh to me.
0:06:25 > 0:06:29And I like the nude subject,
0:06:29 > 0:06:30and, "Here I am. I am guilty".
0:06:30 > 0:06:34And that horrible feeling of guilt, which you had at that time.
0:06:34 > 0:06:37It's hard to fail to be moved by the painting.
0:06:37 > 0:06:42By the candid nature of your depiction of yourself.
0:06:42 > 0:06:44The idea you have the woman's heels and the nail varnish,
0:06:44 > 0:06:47hinting at one side to your personality,
0:06:47 > 0:06:50and the male jeans and a big rugged belt on this side.
0:06:50 > 0:06:52And you are there in the middle.
0:06:52 > 0:06:55And, actually, what you're saying, quite powerfully I think,
0:06:55 > 0:06:58is that whether you're in the heels or in the jeans,
0:06:58 > 0:07:00you are still you.
0:07:00 > 0:07:01Yes, that's right.
0:07:01 > 0:07:03As a narrative picture,
0:07:03 > 0:07:07I think you did very well with very limited means.
0:07:07 > 0:07:11You told us absolutely everything, without going too far,
0:07:11 > 0:07:14without hitting us on the head with a mallet.
0:07:14 > 0:07:15So, thank you for that.
0:07:16 > 0:07:19Mm, it's not everyone who gets a thank you from David.
0:07:19 > 0:07:23I'd say Chris has got his emotional message across loud and clear.
0:07:23 > 0:07:26But has he displayed sufficient technical skill?
0:07:27 > 0:07:30The first thing that strikes me is the background
0:07:30 > 0:07:33is fighting with the figure for my attention the whole time.
0:07:33 > 0:07:35And when I get to the figure, I look at it,
0:07:35 > 0:07:38and I'm quite interested, particularly in the head.
0:07:38 > 0:07:40I think there's some lovely brushwork in the head.
0:07:40 > 0:07:42But that background's just crazy.
0:07:43 > 0:07:47It's the foreground, the lower third from the knees down,
0:07:47 > 0:07:51that vies for my attention, in a bad way.
0:07:51 > 0:07:53To do a figurative painting,
0:07:53 > 0:07:57and one foot looks like it's growing into the ground, tree stump-like.
0:07:57 > 0:08:00It's too well worked-up everywhere else
0:08:00 > 0:08:02to allow that to fall away.
0:08:02 > 0:08:05The first thing that struck me was how badly it's painted.
0:08:05 > 0:08:07In part.
0:08:07 > 0:08:08The foot you were alluding to
0:08:08 > 0:08:12looks like a hoof or a trotter to me.
0:08:12 > 0:08:14My latest works were too big to enter for this competition,
0:08:14 > 0:08:16but I think they're much better.
0:08:16 > 0:08:20Well, the panel are judging Chris on this painting alone,
0:08:20 > 0:08:22and it doesn't quite come up to scratch for them technically.
0:08:22 > 0:08:25But they were moved by his story.
0:08:25 > 0:08:27It's time for the vote.
0:08:27 > 0:08:29There's a lot riding on this for Chris.
0:08:29 > 0:08:32If he gets through to the exhibition,
0:08:32 > 0:08:35it'll be an amazing platform for him to communicate his message
0:08:35 > 0:08:37to a wider audience.
0:08:37 > 0:08:40And if he sells his painting, he'll be able to take his wife on holiday.
0:08:44 > 0:08:46Chris, I'm afraid it's a no.
0:08:46 > 0:08:48David?
0:08:51 > 0:08:53No, not yet, Chris.
0:08:55 > 0:08:58Chris, I'm also going to say no.
0:08:58 > 0:09:00But I wish you all the best with your studies,
0:09:00 > 0:09:02and maybe we'll see you again.
0:09:02 > 0:09:04Oh, thank you very much. Thanks for your time.
0:09:04 > 0:09:06Powerful. Thank you.
0:09:06 > 0:09:08Chris has bared his soul, and his body, here today,
0:09:08 > 0:09:12in an attempt to get his message across, and I'd say he succeeded.
0:09:12 > 0:09:15His work won't be appearing at the Mall Galleries,
0:09:15 > 0:09:17but he has thrown some sympathetic light
0:09:17 > 0:09:20on the world of the cross-dresser.
0:09:25 > 0:09:27I think it's got to be one of the most revealing
0:09:27 > 0:09:29Hanging Committees I've ever witnessed.
0:09:29 > 0:09:31You opened up. You told us a lot about yourself.
0:09:31 > 0:09:34And a lot about your artistic ability
0:09:34 > 0:09:37and your growing career, I suppose.
0:09:37 > 0:09:40And by the sounds of it, it's all going in the right direction?
0:09:40 > 0:09:42Yeah. I don't feel knocked back by it.
0:09:42 > 0:09:44No, I feel quite privileged to be here.
0:09:44 > 0:09:47I shall just take this, and grit my teeth,
0:09:47 > 0:09:48and get on with some more work.
0:09:48 > 0:09:51- Well, we are really pleased to meet you.- Nice to meet you too.
0:09:51 > 0:09:53- Well done to get this far. - Thank you very much.
0:09:53 > 0:09:56- Nice to meet you.- Thank you. Bye-bye.- Away you go.
0:09:57 > 0:10:00Amateur and professional artists from all over the country
0:10:00 > 0:10:02sent in their artwork,
0:10:02 > 0:10:05in many different media, and of all shapes and sizes.
0:10:05 > 0:10:08But only the best got through to our Hanging Committee.
0:10:13 > 0:10:15Next up was 51-year-old Kevin Lee,
0:10:15 > 0:10:18an amateur sculptor from Norwich.
0:10:18 > 0:10:21Kevin works full time maintaining nature reserves,
0:10:21 > 0:10:23but his real passions are travel and art.
0:10:23 > 0:10:26He's come to the Hanging Committee hoping to raise some cash
0:10:26 > 0:10:29for a trip to Ethiopia.
0:10:29 > 0:10:32I love travel, yeah. It's a huge passion of mine.
0:10:32 > 0:10:34Yeah, I've been doing it for, for years now.
0:10:34 > 0:10:37Anywhere? Any type of...?
0:10:37 > 0:10:40Well, I like to get off the beaten track,
0:10:40 > 0:10:43and I would say my art is certainly influenced by my travel.
0:10:43 > 0:10:45Have you stood before critics before?
0:10:45 > 0:10:48No. This is a bit like doing my driving test,
0:10:48 > 0:10:50first day at work,
0:10:50 > 0:10:52you know, exams.
0:10:52 > 0:10:56If, for example, you get onto the Show Me The Monet exhibition here,
0:10:56 > 0:10:58it could be a life-changing experience for you.
0:10:58 > 0:11:00Oh, yeah. I know that. Yeah.
0:11:00 > 0:11:06As soon as I found out that I'd been short-listed,
0:11:06 > 0:11:09I went to work and said, "Guys, I've just had a possible
0:11:09 > 0:11:11"lottery-winning moment here".
0:11:11 > 0:11:12Yeah.
0:11:12 > 0:11:15We're giving you exposure, possibly, to lots of people out there,
0:11:15 > 0:11:17gallery owners, the public.
0:11:17 > 0:11:19- Bring it on.- You may be the biggest thing since slice bread.
0:11:19 > 0:11:21- Come on, let's have it. - Come on, then.- OK.
0:11:21 > 0:11:23Through those doors are the judges.
0:11:23 > 0:11:26- Good luck. I'll see you afterwards. - Cheers. All right, then.
0:11:26 > 0:11:30'Kevin may be entering the Hanging Committee as a complete amateur,
0:11:30 > 0:11:32'but he could be walking out as an artist,
0:11:32 > 0:11:34'with some serious credibility.
0:11:34 > 0:11:36'And if he sells his artwork,
0:11:36 > 0:11:38he'll be able to finance that trip to Ethiopia.
0:11:38 > 0:11:43'His fortunes ride on this wooden sculpture he's called Fetish Totem.
0:11:43 > 0:11:46'It's got an immediate response from the judges,
0:11:46 > 0:11:48'but is that the reaction Kevin is aiming for?'
0:11:53 > 0:11:54Kevin, hello.
0:11:54 > 0:11:56Hi.
0:11:56 > 0:11:57Welcome to the Hanging Committee.
0:11:57 > 0:12:00Could you tell us bit about your sculpture, please?
0:12:00 > 0:12:03Well, it's made out of driftwood,
0:12:03 > 0:12:06and the actual sculpture
0:12:06 > 0:12:09has been inspired by my travels...
0:12:11 > 0:12:13..mainly to Africa.
0:12:14 > 0:12:18And it took about a morning to make,
0:12:18 > 0:12:21and it represents 50 years of life experience...
0:12:24 > 0:12:27and I'm pretty proud of it.
0:12:27 > 0:12:31Wonderful. Can you tell us what price you put on this?
0:12:31 > 0:12:34Well, I put £1,500 on it.
0:12:34 > 0:12:37But, in my opinion, it's probably worth ten times that.
0:12:37 > 0:12:39Right, OK. So how did you arrive at 1,500, then?
0:12:39 > 0:12:44Well, I've made lots of smaller masks and wall hangings,
0:12:44 > 0:12:48and I usually sell those for round about 300.
0:12:48 > 0:12:51So this is a significant step up, but it is a bigger piece of work.
0:12:51 > 0:12:53It is, but you have to chance your arm a bit.
0:12:53 > 0:12:56If somebody's prepared to pay 300 for your work,
0:12:56 > 0:12:57you think, "Let's put it up a bit".
0:12:57 > 0:13:00Love your approach, Kevin.
0:13:00 > 0:13:02He made his sculpture in a morning,
0:13:02 > 0:13:04and now he's taking a bit of a punt on the valuation.
0:13:06 > 0:13:08- I think we should probably have a closer look at it now.- Sure.
0:13:17 > 0:13:20- That's it. Smell it.- Yeah, yeah. - Enjoy it.
0:13:20 > 0:13:22- Smells of driftwood. - HE LAUGHS
0:13:22 > 0:13:25Slightly burnt campfire, slightly tarry, slightly...
0:13:25 > 0:13:28- Earthy, it's earthy. - Salty, earthy, yeah.
0:13:28 > 0:13:32Nice work, Kevin. Trying to push a new judging criteria on Roy.
0:13:32 > 0:13:35"Does the art smell nice?"
0:13:46 > 0:13:48It's fairly crude in technique.
0:13:48 > 0:13:50Sure.
0:13:50 > 0:13:53Without the paint, you have a pile of firewood there, really.
0:13:53 > 0:13:57Ah, not the best of starts, having your art compared to firewood.
0:13:57 > 0:14:00It's humorous. When the curtain came down and I saw it,
0:14:00 > 0:14:02I just smiled for 30 seconds.
0:14:02 > 0:14:05I like that he looks like he's just sat on a tack.
0:14:05 > 0:14:07Normally that sort of a little bit of a gag
0:14:07 > 0:14:10is enough to kill most things for me, but it doesn't with this.
0:14:10 > 0:14:11It's got some sort of weight, to me.
0:14:11 > 0:14:13There's just lots of energy in it.
0:14:14 > 0:14:18Kevin, I feel like this is a bit of a guilty pleasure for me.
0:14:18 > 0:14:21I do think he's kind of a crazy Bohemian beachcomber,
0:14:21 > 0:14:23who reminds me of a Swiss Army knife, I have to say,
0:14:23 > 0:14:26with all these kinds of bits of wood flailing all over the place.
0:14:26 > 0:14:28But he makes me laugh,
0:14:28 > 0:14:31and there is you know a place for English eccentricity, I think.
0:14:32 > 0:14:36So, Charlotte and Roy both like the humour in Kevin's piece.
0:14:36 > 0:14:40But is this enough to secure him a place at the exhibition?
0:14:40 > 0:14:43It's time for that possible lottery moment Kevin talked about.
0:14:43 > 0:14:46He's about to find out if he's won the jackpot,
0:14:46 > 0:14:49or if his totem has brought him bad luck.
0:14:52 > 0:14:55For the reasons I've given, I like it and I think it's worthy.
0:14:55 > 0:14:57It's a yes from me.
0:14:58 > 0:14:59David?
0:15:05 > 0:15:07It's jolly.
0:15:09 > 0:15:11But kind of trivial. No.
0:15:13 > 0:15:14Oh.
0:15:14 > 0:15:16Down to you, Charlotte.
0:15:23 > 0:15:26Kevin, so much of my head is saying no.
0:15:26 > 0:15:29But I cannot help myself, I'm going to say yes.
0:15:31 > 0:15:32Excellent. Well that's it, Kevin.
0:15:32 > 0:15:36You will be in our exhibition, and I'm quite pleased with that.
0:15:36 > 0:15:39Thank you. Thank you very much.
0:15:39 > 0:15:41- Thank you very much. Cheerio.- Bye.
0:15:41 > 0:15:43Kevin's numbers have come up.
0:15:43 > 0:15:45Not bad for a pile of driftwood.
0:15:45 > 0:15:49The question now is, will anyone want to buy it?
0:15:53 > 0:15:55The Mall Galleries, Central London.
0:15:55 > 0:15:59And it was hard to miss Kevin's Fetish Totem.
0:15:59 > 0:16:02The great thing was, I came down the stairs,
0:16:02 > 0:16:04and there it was in the distance,
0:16:04 > 0:16:08and it was glowing, glowing like a beacon.
0:16:08 > 0:16:10And so was Kevin, in his element.
0:16:10 > 0:16:12My stage has been set, and here I am.
0:16:12 > 0:16:16And his sculpture generated lots of interest.
0:16:16 > 0:16:18I think the sculptures are great.
0:16:18 > 0:16:19There's a lovely variety.
0:16:19 > 0:16:21And I think I like all of them.
0:16:21 > 0:16:23'If anyone wanted to buy Kevin's sculpture
0:16:23 > 0:16:26'they had to meet a secret bid to an independent agent,
0:16:26 > 0:16:29'who would take a 10% commission of the final sale.
0:16:29 > 0:16:32'Any bids were handed to me in a sealed envelope,
0:16:32 > 0:16:36'to be revealed to Kevin at the end of the exhibition.'
0:16:40 > 0:16:43Did you get a sniff that people would like to buy?
0:16:43 > 0:16:46To be honest with you, I didn't get any clues at all.
0:16:46 > 0:16:48Well, I've got all your answers in here.
0:16:48 > 0:16:49How much did you want for this?
0:16:49 > 0:16:52Well, I put 1,500 on it,
0:16:52 > 0:16:54but if I can get enough to pay for my parking fees...
0:16:54 > 0:16:56- Right. - LAUGHTER
0:16:56 > 0:16:58You didn't park near the palace, did you?
0:16:58 > 0:17:01I did. I knocked on the door, but they wouldn't let me in.
0:17:01 > 0:17:03She wouldn't let you park in there, OK. Sorry about the Queen.
0:17:03 > 0:17:05OK, let's have a look, then.
0:17:05 > 0:17:07So you wanted £1,500...
0:17:08 > 0:17:10..for your piece of work.
0:17:10 > 0:17:12Indeed.
0:17:12 > 0:17:14Kevin...
0:17:19 > 0:17:21You didn't get any offers.
0:17:21 > 0:17:23Well, I'm not surprised, you know.
0:17:23 > 0:17:26It's not everybody's cup of tea.
0:17:26 > 0:17:28You either like it or not.
0:17:28 > 0:17:31And, to be honest, you've got to have a big house to appreciate it.
0:17:31 > 0:17:33- I'm so sorry it didn't happen. - That's all right.
0:17:33 > 0:17:35But it's been a pleasure to meet you,
0:17:35 > 0:17:37and I wish you the best of luck in the future.
0:17:37 > 0:17:40- Give him a round of applause. - APPLAUSE
0:17:40 > 0:17:43'No sale for Kevin's driftwood sculpture.
0:17:43 > 0:17:46'He'll have to find some other way to finance his travels.
0:17:47 > 0:17:51'But he has exhibited his work at a major London exhibition,
0:17:51 > 0:17:54'and rubbed shoulders with some very important people in the art world.
0:17:54 > 0:17:56'As he said himself, his stage is set.'
0:18:04 > 0:18:07Artists arrived in their droves to show their work
0:18:07 > 0:18:09to the Hanging Committee.
0:18:09 > 0:18:12But the judges' bar was extremely high,
0:18:12 > 0:18:14and not everybody made it through.
0:18:14 > 0:18:19Professional artist Sophie Hammerton wanted £2,500
0:18:19 > 0:18:21for her portrait of her daughter.
0:18:21 > 0:18:24My dream is to learn to paint as well as I can,
0:18:24 > 0:18:27taking on board techniques of the old masters.
0:18:27 > 0:18:29And technique was very much in David's thoughts.
0:18:29 > 0:18:34I found that flying buttress on the left shoulder a bit difficult.
0:18:34 > 0:18:36I think it's supposed to be hair, is it?
0:18:36 > 0:18:39It looks like a piece of wood to me, which is holding the head up.
0:18:39 > 0:18:43But Charlotte was of a different mindset altogether.
0:18:43 > 0:18:44You have created something
0:18:44 > 0:18:49that makes me feel I know something about her as a girl.
0:18:49 > 0:18:51That's a really key thing. Yes.
0:18:51 > 0:18:52Oh, thank you.
0:18:52 > 0:18:53No.
0:18:53 > 0:18:57- It is a no.- Thank you. Bye-bye.
0:18:57 > 0:19:02Puppet maker Nigel Leach brought along his mobile seagull sculpture.
0:19:02 > 0:19:04Although his technical skill wasn't in any doubt,
0:19:04 > 0:19:08the judges questioned his piece's artistic merits.
0:19:08 > 0:19:10I feel that this is more of a design object.
0:19:10 > 0:19:13It doesn't have a great deal of depth for me.
0:19:13 > 0:19:16Once you've got it, you can interact with the artwork.
0:19:16 > 0:19:20You can move the individual pieces around the wires.
0:19:20 > 0:19:23Which again makes it feel like a piece of design.
0:19:23 > 0:19:25It's got great versatility as a toy.
0:19:25 > 0:19:27You could sell it to children,
0:19:27 > 0:19:29and you could sell it to executives for their office.
0:19:29 > 0:19:32Good luck, Nigel, but no.
0:19:32 > 0:19:34Gill Levin's childhood memories
0:19:34 > 0:19:36of playing on the West Pier at Brighton
0:19:36 > 0:19:38were the inspiration for her painting
0:19:38 > 0:19:40of the now-derelict structure.
0:19:40 > 0:19:44For me, it's a requiem, because I'm so upset that it's just been left.
0:19:44 > 0:19:49Despite Gill's feelings, Charlotte felt it was a well-trodden path.
0:19:49 > 0:19:52I don't believe a view of this pier can any longer be original,
0:19:52 > 0:19:56because so many people focus their attention on it
0:19:56 > 0:19:59when they go to Brighton, and they're an artist.
0:19:59 > 0:20:00Roy, however, dismissed this view.
0:20:00 > 0:20:04For originality, I haven't seen anything like this.
0:20:04 > 0:20:06It's got a quietness about it that I like.
0:20:06 > 0:20:07Gill, it is a yes.
0:20:07 > 0:20:10Thank you.
0:20:10 > 0:20:11I may regret this, but no.
0:20:11 > 0:20:14I'm afraid it's a no from me.
0:20:14 > 0:20:18Photography technician Tom Harrison went up before the judges
0:20:18 > 0:20:20with an image of his father,
0:20:20 > 0:20:24and they had nothing by praise for his photographic technique.
0:20:24 > 0:20:27That line of shadow down the hairline,
0:20:27 > 0:20:30all the detail is still in there, and that's really difficult to get.
0:20:30 > 0:20:32It's a tremendous print.
0:20:32 > 0:20:35But their focus was on its artistic worth.
0:20:35 > 0:20:39It's that line between a commercial pose and an art photograph.
0:20:39 > 0:20:41That's the problem I have with it.
0:20:41 > 0:20:43Is a studio portrait,
0:20:43 > 0:20:46however good it is technically,
0:20:46 > 0:20:50fit for an exhibition of art?
0:20:50 > 0:20:51It's tricky,
0:20:51 > 0:20:54as there wasn't a huge amount of preconception behind this.
0:20:54 > 0:20:57I didn't set out to make a study of my father.
0:20:57 > 0:20:59This is what transpired from the shoot.
0:20:59 > 0:21:02It's a really close call this, Tom,
0:21:02 > 0:21:03but I will have to say no.
0:21:03 > 0:21:05Thank you. Take care.
0:21:10 > 0:21:14'Next up to face the Hanging Committee was 39-year-old
0:21:14 > 0:21:15'Matthew Elliott from Plymouth.
0:21:17 > 0:21:20'This former Marine saw action in Iraq and Northern Ireland,
0:21:20 > 0:21:24'before injury put paid to his time on the front line.
0:21:24 > 0:21:26'Now he wants to try and make some cash
0:21:26 > 0:21:29'from a new career in the art world.'
0:21:29 > 0:21:32You obviously had a serious enough injury to leave the Marines.
0:21:32 > 0:21:33Are you OK now?
0:21:33 > 0:21:35Yeah, it's not something that's ruined my life,
0:21:35 > 0:21:37but it's just something I've got to take care of.
0:21:37 > 0:21:39OK, well, that's good to hear.
0:21:39 > 0:21:41Now you will go and see three judges, OK?
0:21:41 > 0:21:44- Experienced, well-respected judges. - Sure.
0:21:44 > 0:21:47Maybe some of their advice you may not like.
0:21:47 > 0:21:48Partly the reason I'm here.
0:21:48 > 0:21:51I'm going to get a good, honest, professional critique,
0:21:51 > 0:21:52instead of "like", "like".
0:21:52 > 0:21:55You don't get anything from people just saying, "I like".
0:21:55 > 0:21:57I don't suppose many people would say to an ex-Marine
0:21:57 > 0:21:59they don't like their work.
0:21:59 > 0:22:01Well, maybe my wife. HE LAUGHS
0:22:01 > 0:22:03Yeah!
0:22:03 > 0:22:06'Matthew may be the toughest artist to face the judges.
0:22:06 > 0:22:08'But even his nerves must be jangling,
0:22:08 > 0:22:12'as he's about to have his work critiqued for the very first time.'
0:22:15 > 0:22:16SHE LAUGHS
0:22:16 > 0:22:19'His quirky photo has definitely raised a smile
0:22:19 > 0:22:21'with some of the judges.'
0:22:27 > 0:22:29- Matthew, hello and welcome.- Hello.
0:22:29 > 0:22:33Welcome to the Hanging Committee. Please tell us about your work.
0:22:33 > 0:22:35This piece I'm calling Eating In The Street.
0:22:35 > 0:22:37It was part of some work for college.
0:22:37 > 0:22:41I was looking at the concept of transformation,
0:22:41 > 0:22:42as part of my progression.
0:22:42 > 0:22:44I came across an idea to do this.
0:22:44 > 0:22:48I suppose you could say it was turning point in my photography.
0:22:48 > 0:22:50It went away from what I was doing before,
0:22:50 > 0:22:52and it's one piece I'm quite happy with.
0:22:52 > 0:22:54And how much do you value this work at?
0:22:54 > 0:22:57- £100.- It doesn't seem very much for a work this size.
0:22:57 > 0:22:58No, no, no, no, no.
0:22:58 > 0:23:01For me, at the minute, it's more about the photography.
0:23:01 > 0:23:03It's more about getting out there.
0:23:03 > 0:23:05We'll come and have a closer look.
0:23:05 > 0:23:06OK. Thank you.
0:23:08 > 0:23:10Matthew is right at the start of his photographic career,
0:23:10 > 0:23:13which is why he's given his work such a low price tag.
0:23:13 > 0:23:18But he would eventually like to make a living from his photography,
0:23:18 > 0:23:20so will the judges see something in his work
0:23:20 > 0:23:22that could change his fortunes?
0:23:28 > 0:23:31Matthew, so you're a student of photography at the moment?
0:23:31 > 0:23:32That's right, yeah.
0:23:32 > 0:23:34- How long has that been for? - On my second year now.
0:23:34 > 0:23:37Second year. So, previously, what did you do?
0:23:37 > 0:23:40I was in the Marines for 12 years.
0:23:40 > 0:23:42Does any of that leak into your work?
0:23:42 > 0:23:44Obviously, it doesn't in this piece.
0:23:44 > 0:23:46No, no.
0:23:46 > 0:23:48I'm a great admirer of Don McCullin.
0:23:48 > 0:23:52Huge respect for frontline photographers.
0:23:52 > 0:23:53Yeah.
0:23:53 > 0:23:55Did you see any frontline action yourself?
0:23:55 > 0:23:59Yeah, yes, yes. Iraq, and I was in Northern Ireland.
0:24:00 > 0:24:02So you'd like to take photographs of that nature?
0:24:02 > 0:24:07Yeah. I hope to go to Afghanistan before they leave, for a month or so.
0:24:08 > 0:24:10It's a worthy ambition,
0:24:10 > 0:24:15but for now the judges must focus on Matthew's slices of toast.
0:24:16 > 0:24:20Is this created on a screen,
0:24:20 > 0:24:24or did you actually go to some location and stick some toast in it?
0:24:24 > 0:24:26No, this was location.
0:24:27 > 0:24:28I cooked the toast at home,
0:24:28 > 0:24:33put it in a bag, two bits of wire, and attached it to the drain.
0:24:33 > 0:24:36OK, so, first you identified that the grid
0:24:36 > 0:24:39- looked like the top of a toaster? - Yeah.
0:24:39 > 0:24:44- And you thought, "I'll put some bread in that".- Yes.
0:24:44 > 0:24:48And then you photographed it right in the middle of the frame?
0:24:48 > 0:24:49Yes.
0:24:49 > 0:24:53- And showed us exactly what you'd done.- Yes.
0:24:56 > 0:24:58I'm tempted to say, "Is that it?"
0:25:00 > 0:25:01Ouch! That's a blow.
0:25:04 > 0:25:07It is very funny, very witty. Smacks you right away.
0:25:07 > 0:25:09As soon as it was unveiled to us, I think we all laughed.
0:25:09 > 0:25:12- But how many times can you see that? - Yeah.
0:25:12 > 0:25:13It's like a T-shirt slogan.
0:25:13 > 0:25:15Very funny when you first read it,
0:25:15 > 0:25:16but do you want that in your cupboard?
0:25:18 > 0:25:20The flack is flying,
0:25:20 > 0:25:22but the ex- Marine defends his position.
0:25:24 > 0:25:27I see you as being a photographer, you shouldn't box yourself.
0:25:27 > 0:25:30You have to be out there,
0:25:30 > 0:25:35trying your hand at different styles and different techniques.
0:25:35 > 0:25:39Absolutely. You've got to experiment when you're a student,
0:25:39 > 0:25:42- so you can find what you're going to do at the end.- Definitely.
0:25:42 > 0:25:46I like your passion, incidentally. I think that's estimable.
0:25:46 > 0:25:48David's impressed by Matthew's enthusiasm
0:25:48 > 0:25:51and willingness to try different things.
0:25:51 > 0:25:54But, ultimately, it's this photo they're judging.
0:25:54 > 0:25:57Is it good enough to win him a place at the exhibition?
0:26:02 > 0:26:05Roy, I'm going to start with you. Is it yes or no?
0:26:05 > 0:26:08It's a no, I'm afraid, Matthew.
0:26:11 > 0:26:13- It's no from me.- OK.- As well.
0:26:13 > 0:26:14I'm afraid it's no from me, too.
0:26:14 > 0:26:17- But I hope you're not disheartened, because...- Not at all.
0:26:17 > 0:26:19..you're still a student, so...
0:26:19 > 0:26:20And you've got the right idea.
0:26:20 > 0:26:23You've got the passion, which is key. Thank you.
0:26:23 > 0:26:26And good luck if you go to Afghanistan.
0:26:26 > 0:26:28- Absolutely. Bye.- Thank you.
0:26:28 > 0:26:30'Three noes from the judges,
0:26:30 > 0:26:34'but some extremely constructive feedback on Matthew's piece.'
0:26:36 > 0:26:40- Matthew. Commiserations.- Yeah, yeah.
0:26:40 > 0:26:42How do you feel about all of that?
0:26:42 > 0:26:45I think they were fair in what they were saying.
0:26:45 > 0:26:48I think they went on the emotional impact on it,
0:26:48 > 0:26:51as it's like a one-off piece, you know.
0:26:51 > 0:26:53But I've taken it on board,
0:26:53 > 0:26:55and I've got some really good feedback, actually.
0:26:55 > 0:26:58I was quite impressed with some of the feedback. So it's not all bad.
0:26:58 > 0:27:01- All right. It's been a pleasure meeting you.- And you, Chris.
0:27:01 > 0:27:03- I wish you the best of luck. - Thanks for your time.
0:27:03 > 0:27:05- Bye-bye.- Bye-bye.
0:27:09 > 0:27:13'Next to face the Hanging Committee at Eltham Palace
0:27:13 > 0:27:17'was 37-year-old Manchester lad, Dean Dermody.
0:27:17 > 0:27:19'For 12 years, Dean earned his living
0:27:19 > 0:27:22'drawing caricatures on Blackpool beach.
0:27:22 > 0:27:25'But he chucked the job in, to make more money as a serious artist.
0:27:25 > 0:27:28'He wants to get through to the exhibition and make a sale
0:27:28 > 0:27:31'so he can fulfil a lifetime's dream of visiting Florence,
0:27:31 > 0:27:34'to see some of the world's greatest paintings.'
0:27:34 > 0:27:37So when did you decide, "You know what? Enough is enough,
0:27:37 > 0:27:41- "I want to do something else"? - About two years ago.
0:27:41 > 0:27:43Just the boredom of it,
0:27:43 > 0:27:45and the same sort of thing, over and over again.
0:27:45 > 0:27:49I just wanted to get out of it and I feel like I've got more to offer.
0:27:49 > 0:27:51I look at you, you look as if you're bursting.
0:27:51 > 0:27:52I am. I'm full of energy
0:27:52 > 0:27:54to do with art and the painting.
0:27:54 > 0:27:56I'm very passionate about what I do.
0:27:56 > 0:28:00- You're like a coiled spring. - I feel like one. Definitely today, I do feel like a coiled spring.
0:28:00 > 0:28:02Once I get off, I'm going to go "phew" straight away.
0:28:02 > 0:28:04I'm going to just direct this coiled spring.
0:28:04 > 0:28:06Away you go. Through that door.
0:28:06 > 0:28:08- Good luck, mate. - Thank you. Bye-bye.
0:28:10 > 0:28:13'Dean is pinning his hopes of getting through to the exhibition
0:28:13 > 0:28:15'on his first-ever oil painting,
0:28:15 > 0:28:17'of an old man busking.
0:28:17 > 0:28:20'The title - Bolero in Manchester.'
0:28:20 > 0:28:23Painting means the world to me. Without it, I feel real lost.
0:28:24 > 0:28:28If I got to the exhibition, it would mean everything to me.
0:28:43 > 0:28:46- Dean.- Hiya.- Welcome to the Hanging Committee.- Thank you.
0:28:46 > 0:28:48Would you like to talk us through your painting?
0:28:48 > 0:28:50It's my first painting.
0:28:50 > 0:28:52And it took around five weeks to paint.
0:28:52 > 0:28:54It's like a realism style.
0:28:54 > 0:28:57It's all new to me in a way. It's not like I've been at it years.
0:28:57 > 0:29:00It's two or three years I've been really practising.
0:29:00 > 0:29:02What price would you put on this painting?
0:29:02 > 0:29:04Maybe two-and-a-half to three grand.
0:29:04 > 0:29:05£3,000, something like that.
0:29:05 > 0:29:08But it will be quite difficult without any form of track record
0:29:08 > 0:29:11to jump in to such a high level.
0:29:11 > 0:29:15- And that is a high level for any painter, really.- OK.
0:29:15 > 0:29:18- But I think we should have a closer look. See for ourselves.- Thank you.
0:29:24 > 0:29:26There's a lot riding on this for Dean.
0:29:26 > 0:29:30Until now, he's made his living drawing caricatures.
0:29:30 > 0:29:32If he makes it in the fine art world,
0:29:32 > 0:29:36he could stand to earn significantly more money.
0:29:36 > 0:29:37But have those years sketching on the beach
0:29:37 > 0:29:41provided him with a grounding for a career in fine art?
0:29:46 > 0:29:48For your first painting,
0:29:48 > 0:29:51what made you choose this subject?
0:29:51 > 0:29:52What, a question...?
0:29:52 > 0:29:54Apart from the fact that you obviously had
0:29:54 > 0:29:56a photograph of it hanging around.
0:29:56 > 0:29:58Yeah, I took the photograph myself.
0:29:58 > 0:30:00Coming back through Manchester, he was stood there.
0:30:00 > 0:30:02I was straight over, took the picture.
0:30:02 > 0:30:03It just seemed to have happened.
0:30:03 > 0:30:07I have to say, for your first painting, I'm very impressed...
0:30:07 > 0:30:09- Thank you. - ..with the level you've got to.
0:30:09 > 0:30:11This is a very particular kind of photo realism.
0:30:11 > 0:30:14As David said, you only get certain elements of that painting
0:30:14 > 0:30:16- through working from a photograph. - Yes.
0:30:16 > 0:30:19Photo realists would have
0:30:19 > 0:30:22projected the image onto a canvas.
0:30:22 > 0:30:25- Yeah.- And then painted it in. But you didn't do that with this?
0:30:25 > 0:30:28- That's what I did.- Is it?! - Yeah, yeah.- Oh, right.
0:30:28 > 0:30:30That's what I did, yeah.
0:30:37 > 0:30:40One of my problems with this is that this is a painting
0:30:40 > 0:30:43of a photographic cliche.
0:30:43 > 0:30:45Every documentary photographer
0:30:45 > 0:30:48has a beggar-stroke-busker picture
0:30:48 > 0:30:51in their portfolio.
0:30:54 > 0:30:57This is your first painting.
0:30:57 > 0:30:59And let's not lose sight of that.
0:30:59 > 0:31:01I love the little details you've got.
0:31:01 > 0:31:02You can see the long nails,
0:31:02 > 0:31:04and they're dirty.
0:31:04 > 0:31:06You can see the red rims of his eyes.
0:31:06 > 0:31:07You have got the detail.
0:31:07 > 0:31:09Yeah.
0:31:09 > 0:31:12I think if you took that as a snap as you were moving by,
0:31:12 > 0:31:17looking to get other kinds of images, you've done very, very well.
0:31:18 > 0:31:20So, at the end of that, it's time for us
0:31:20 > 0:31:23to come to our position on voting.
0:31:25 > 0:31:28Everything hangs on this moment for Dean.
0:31:28 > 0:31:30If his painting gets through to the exhibition in London,
0:31:30 > 0:31:34he could stand to make £3,000,
0:31:34 > 0:31:37enough to fund his dream of travelling to Italy
0:31:37 > 0:31:39quite a few times over.
0:31:43 > 0:31:45I think there's enough painting for me.
0:31:45 > 0:31:47- It's a yes from me, Dean. - Thank you.
0:31:56 > 0:31:58Not enough yet. No.
0:32:03 > 0:32:05I'm afraid I'm going to have to say no.
0:32:09 > 0:32:11- Sorry, Dean. - That's fine, that's fine.
0:32:11 > 0:32:13- I'll shake your hand. - Thank you very much.- Cheers, mate.
0:32:13 > 0:32:16- 'It's all over for Dean.' - Sorry, Dean. Keep doing it.
0:32:16 > 0:32:17'His hopes of showing
0:32:17 > 0:32:20'and selling his first-ever painting have been dashed.'
0:32:23 > 0:32:25How was that as an experience, then?
0:32:25 > 0:32:28Very good. It'll toughen you up, definitely.
0:32:28 > 0:32:31That's what you need. The comments they said, I thought them myself.
0:32:31 > 0:32:33And I have expressed that to people.
0:32:33 > 0:32:36- It's been a pleasure meeting you. - Nice to meet you.
0:32:36 > 0:32:38- Sorry it didn't work out this time. - Don't worry.
0:32:38 > 0:32:40Maybe next time. In fact, I know it'll happen next time.
0:32:40 > 0:32:43- Thanks, Chris.- Safe journey home. - Thanks a lot. Cheers.
0:32:51 > 0:32:55Artists from all over the UK queued up to show their work to the judges.
0:32:55 > 0:33:00Some had their hopes dashed, others saw their dreams come true.
0:33:02 > 0:33:05Kirsty O'Leary-Leeson is a 40-year-old mum of four,
0:33:05 > 0:33:07from Plumstead in Norfolk.
0:33:07 > 0:33:10She originally worked as a freelance illustrator,
0:33:10 > 0:33:12but when the illustration work dried up,
0:33:12 > 0:33:15Kirsty devoted herself to raising four kids.
0:33:15 > 0:33:19Now, ten years later, her creative juices are flowing again.
0:33:19 > 0:33:22She's just completed a degree in Fine Art
0:33:22 > 0:33:26and is hoping to make some money as a professional artist.
0:33:26 > 0:33:28- Kirsty, lovely to meet you. - You, too.
0:33:28 > 0:33:31- You have four children, right?- Yes. - And what ages are they?
0:33:31 > 0:33:34The eldest is 15, and then there's 13,
0:33:34 > 0:33:37I think he's ten, and just turned seven.
0:33:37 > 0:33:40- Wow, so you have got your hands full.- Yes.
0:33:40 > 0:33:42What are your ambitions?
0:33:42 > 0:33:45I would like to at least make a part-time wage,
0:33:45 > 0:33:48make some money, at being an artist.
0:33:48 > 0:33:50What would you do with the money?
0:33:50 > 0:33:54In theory, it should go back into producing artwork.
0:33:54 > 0:33:57In real life, my 13-year-old daughter,
0:33:57 > 0:33:59a very talented pianist, wants to take up the harp now.
0:33:59 > 0:34:04So I would probably put it towards a harp for her.
0:34:04 > 0:34:06- Money towards a harp. Good luck.- Thank you.
0:34:06 > 0:34:09And make sure they don't let you cry.
0:34:09 > 0:34:11- Through there.- Thank you.
0:34:16 > 0:34:18This is Kirsty's second foray into the art world,
0:34:18 > 0:34:23and she's determined to make a success of things this time around.
0:34:23 > 0:34:25But she's got a large family,
0:34:25 > 0:34:28and needs to be earning money to supplement the household income.
0:34:28 > 0:34:30So she's given herself a year
0:34:30 > 0:34:35to turn her art into a profitable business.
0:34:38 > 0:34:40- Kirsty, hello.- Hello there.
0:34:40 > 0:34:43Would you introduce us to your drawing, please?
0:34:43 > 0:34:45This piece is called All At Sea.
0:34:45 > 0:34:48It was originally part of my degree show installation last summer.
0:34:48 > 0:34:50I read somewhere, a couple of years back,
0:34:50 > 0:34:52something along the lines of,
0:34:52 > 0:34:54"Landscape is a portrait of the soul".
0:34:54 > 0:34:57That's what I am working towards.
0:34:57 > 0:35:01I draw what I feel and experience, not just what I see.
0:35:01 > 0:35:05I use my environment as a metaphor my feelings
0:35:05 > 0:35:09and imagination and emotions.
0:35:09 > 0:35:10Smashing. Um, how much?
0:35:10 > 0:35:14Actually, I was going to use your expertise
0:35:14 > 0:35:15to give me some advice,
0:35:15 > 0:35:16OK, I tell you what,
0:35:16 > 0:35:19shall we give you that advice after we've looked at it?
0:35:19 > 0:35:21- Yeah, that would be fine.- Lovely.
0:35:26 > 0:35:28Kirsty wants to make money from her art,
0:35:28 > 0:35:30and a spot at the Mall Galleries
0:35:30 > 0:35:33would certainly bring her closer to achieving her goal.
0:35:33 > 0:35:38But the gatekeepers to our exhibition are not easy to impress.
0:35:38 > 0:35:41There will have to be something exceptional about Kirsty's drawing
0:35:41 > 0:35:43for the judges to put her through.
0:35:53 > 0:35:55Kirsty, have you sold anything so far?
0:35:55 > 0:35:56I've sold a few pieces.
0:35:56 > 0:35:58I have been in a couple of group exhibitions
0:35:58 > 0:35:59and a few solo exhibitions.
0:35:59 > 0:36:01How did they go? What sort of prices?
0:36:01 > 0:36:04They were about 250, 350.
0:36:04 > 0:36:07I think it's important that you get them out there,
0:36:07 > 0:36:10so not to overvalue them as yet.
0:36:10 > 0:36:13I would say anything between £600 and £900
0:36:13 > 0:36:14- would be a good idea for that.- Yeah.
0:36:16 > 0:36:20Kirsty has created this work using pencil and a medium called "gesso",
0:36:20 > 0:36:24a calcium compound, which is mixed with water to make a paste,
0:36:24 > 0:36:27then smoothed over the surface of the paper or canvas.
0:36:29 > 0:36:32Kirsty, I like the fact that you've challenged yourself to put
0:36:32 > 0:36:37pencil to gesso, where you can't go back, you can't take anything out,
0:36:37 > 0:36:38you just keep going.
0:36:38 > 0:36:41I think that's commendable, and rarer day-by-day,
0:36:41 > 0:36:44where people decide to take on something
0:36:44 > 0:36:46technically a little bit trickier.
0:36:47 > 0:36:51So Kirsty's already scored a few points for her choice of medium.
0:36:51 > 0:36:55That's a good start, but her drawing entitled All at Sea will also
0:36:55 > 0:37:00have to resound on a deeper level if it's to really impress these judges.
0:37:00 > 0:37:03I think, even without your title, which is quite literal,
0:37:03 > 0:37:05I'm not so keen on the title.
0:37:05 > 0:37:08Yes, punning titles are verboten.
0:37:08 > 0:37:10I shall take that on board.
0:37:10 > 0:37:12She learns the ropes quickly, this one.
0:37:12 > 0:37:17Particularly for a work like this, which has many ways you can read it,
0:37:17 > 0:37:19it does look like a wake, to me.
0:37:19 > 0:37:22The way that the wake kind of meanders behind a boat.
0:37:22 > 0:37:25And yet, the water doesn't look particularly like a wake.
0:37:25 > 0:37:28You could look at it like the contours of the sand.
0:37:28 > 0:37:31Or you can see it as mountains from the sky.
0:37:31 > 0:37:32I see it as a fault line.
0:37:32 > 0:37:35I used to live next to the San Andreas fault for years,
0:37:35 > 0:37:38and I see it as two plates pushing together.
0:37:38 > 0:37:40I don't know what it's about.
0:37:42 > 0:37:45But I'm sufficiently teased
0:37:45 > 0:37:47and seduced by it
0:37:47 > 0:37:51to want to get to know what it might be about.
0:37:51 > 0:37:55You don't very often come across work that wants to draw you in,
0:37:55 > 0:38:00and which tells you that somebody is trying to communicate with you.
0:38:00 > 0:38:04Although it offers many different readings,
0:38:04 > 0:38:06it all complements where you've gone with this piece, I think.
0:38:06 > 0:38:09I, for one, feel you could look at it again and again,
0:38:09 > 0:38:13and actually your own mood would react with it.
0:38:13 > 0:38:17And that's a sign of a good piece of work, I think.
0:38:17 > 0:38:20Wow, they're all going "overboard" in their praise for this piece.
0:38:20 > 0:38:23Kirsty must be feeling pretty "buoyed-up'".
0:38:23 > 0:38:26Sorry, David. I know you said puns are verboten.
0:38:26 > 0:38:31Will Kirsty's drawing be heading for the Mall Galleries or the rocks?
0:38:31 > 0:38:34It's an important moment for Kirsty.
0:38:34 > 0:38:37She's only given herself a year to start making money from her art.
0:38:37 > 0:38:41If she doesn't succeed, her dream of becoming a professional artist
0:38:41 > 0:38:44may have to be consigned to the scrapheap.
0:38:45 > 0:38:47What do I think of this?
0:38:47 > 0:38:49What do I think of this?
0:38:58 > 0:39:00Roy?
0:39:00 > 0:39:03- Yes.- Yeah!
0:39:03 > 0:39:06Charlotte?
0:39:06 > 0:39:10- Absolutely yes.- Yes!
0:39:10 > 0:39:13- As usual, I'm irrelevant. - No, you're not. Not at all!
0:39:13 > 0:39:14Yes.
0:39:16 > 0:39:17Thank you very much!
0:39:20 > 0:39:23What a triumph for this mum of four from Norfolk.
0:39:23 > 0:39:26She's sailed through the Hanging Committee, and she's on course
0:39:26 > 0:39:29for The Mall Galleries, and hopefully fame and fortune.
0:39:29 > 0:39:33The question now is, will anyone want to buy her drawing?
0:39:41 > 0:39:43The Mall Galleries, London,
0:39:43 > 0:39:47and Kirsty's drawing was in a prime spot, right near the entrance.
0:39:47 > 0:39:52This is quite a big achievement, to get into a London gallery.
0:39:52 > 0:39:55I hope that it can lead onto something.
0:39:55 > 0:39:58I've only been out of university for about nine or ten months,
0:39:58 > 0:40:01so I think it's really great, actually.
0:40:01 > 0:40:04This was Kirsty's moment. She rubbed shoulders with art dealers,
0:40:04 > 0:40:07collectors, and members of the public.
0:40:07 > 0:40:10And her gesso drawing was a bit of a talking point.
0:40:10 > 0:40:14I would hope to bid later on, when I've seen all the pictures.
0:40:14 > 0:40:17There's a lot of art energy on the walls, and that's a good thing.
0:40:17 > 0:40:20It's great to see new talent at shows like this,
0:40:20 > 0:40:23because this is where collectors
0:40:23 > 0:40:27have the forethought, or the inclination,
0:40:27 > 0:40:29to buy an artist's work,
0:40:29 > 0:40:31because they think it's good, or they love it.
0:40:32 > 0:40:36'On the judges' advice, Kirsty set her asking price at £750.
0:40:36 > 0:40:39'Any offers will be subject to a 10% commission,
0:40:39 > 0:40:42'to be paid to an independent agent.
0:40:42 > 0:40:45'As the exhibition drew to a close, it was time for me
0:40:45 > 0:40:48'to reveal to Kirsty the results of the secret bids.'
0:40:52 > 0:40:54OK, let's just remind ourselves.
0:40:54 > 0:40:57Exactly how much money were you looking for?
0:40:57 > 0:41:00- I went for 750.- OK, and what were you going to spend the money on?
0:41:00 > 0:41:04Originally, we were thinking perhaps Keira wants to take up the harp,
0:41:04 > 0:41:07but Ayrelia has put her full penn'orth in,
0:41:07 > 0:41:09and she wants to go to Greece.
0:41:09 > 0:41:12Fair enough. Right, OK. So here we go.
0:41:15 > 0:41:19Now, you were looking at 750.
0:41:23 > 0:41:25We've got three offers.
0:41:25 > 0:41:28- Really?!- Yeah.- Wow!
0:41:28 > 0:41:32Three offers! And the first offer...
0:41:34 > 0:41:39..was for £750.50.
0:41:39 > 0:41:42CHEERING 50 pence comes in useful!
0:41:42 > 0:41:46They do, but the second offer was way higher than that.
0:41:47 > 0:41:50It was £751.
0:41:50 > 0:41:52LAUGHTER
0:41:52 > 0:41:54This is where we get serious, OK?
0:41:54 > 0:41:56Because this is the third and final offer.
0:41:58 > 0:42:00Your final offer...
0:42:06 > 0:42:07..was for £850.
0:42:07 > 0:42:09APPLAUSE
0:42:15 > 0:42:16Hey!
0:42:16 > 0:42:18Excellent!
0:42:18 > 0:42:19How do you feel about that?
0:42:19 > 0:42:21That's fantastic. Great!
0:42:21 > 0:42:23We are so pleased for you.
0:42:23 > 0:42:26Give her a big cuddle, won't you? Go on, all give her a big hug.
0:42:26 > 0:42:28And we'll give her a round of applause. Well done, you.
0:42:28 > 0:42:30Thank you! APPLAUSE
0:42:31 > 0:42:33'And what a result for Kirsty.
0:42:33 > 0:42:36'She sold her drawing for £100 more than her asking price.
0:42:36 > 0:42:38'And she's made contact with some very influential people
0:42:38 > 0:42:40'in the art world.
0:42:40 > 0:42:44'Hopefully, this is just the first step in a successful art career.
0:42:49 > 0:42:53'That's it for today, but join us next time on Show Me the Monet,
0:42:53 > 0:42:56'when the judges will be meeting more hopeful artists
0:42:56 > 0:42:57'in search of success.'
0:43:21 > 0:43:24Subtitles by Red Bee Media Ltd