Episode 5 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. Eleven 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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It's all consuming. It's everything.

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-I thought they'd eat me alive.

-To get something in London would be pretty special.

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These artists could stand to make some serious cash.

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-What price do you put on it?

-14,000.

-14,000?!

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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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Your friend nearly died for your art.

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But the question is, was it worth it?

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Their hopes are in the hands of the Hanging Committee.

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What do I think of this?

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What do I think of this?

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I'm on a bit of a knife edge.

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I feel there's a war raging inside me.

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That's three bells. You've won the jackpot.

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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,

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amateur and professional artists have had to withstand

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razor-sharp critique from our judges in the hope

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they get a chance to show and sell their work

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at our prestigious London exhibition at the Mall Galleries.

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But to get there they have to get past

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three of the most demanding critics in the business.

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Charlotte Mullins is our contemporary specialist.

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The author of ten books on art and culture,

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she's selected works for some of the most prestigious art competitions.

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I'm looking for originality,

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because if a work is truly original, you'll never forget it.

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Roy Bolton is our resident money man.

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A fine art dealer of international renown,

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he has valued and sold works for some big-name auction houses.

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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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And David Lee is the editor of a satirical art magazine.

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Renowned for his straight talking,

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if he thinks something's rubbish he'll come right out and say it.

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Good technique, through practice, is essential.

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Without it, they'll get nowhere.

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Thousands of hopeful artists applied,

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but only the very best

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will be selected to show their work at the Mall Galleries.

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I've reconsidered. I'd like to change my vote.

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Coming up on today's programme,

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one artist reveals a secret he's kept hidden for most of his life.

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It was about opening up,

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and baring myself to the world in some ways, I suppose.

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And the judges discover a rare talent.

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You don't very often come across work that wants to draw you in,

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and which tells you that somebody is trying to communicate with you.

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Eltham Palace, South London.

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An important royal residence from the 14th to the 16th centuries,

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and home in the 1930s

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to society couple Stephen and Virginia Courtauld.

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It was here that the judges set up their Hanging Committee,

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and artists from all over the country came to showcase their work.

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First to face the panel was art student,

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and part-time art restorer, Chris Fittock, from Lancashire.

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A married father of two, he's a man who until very recently

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had a secret.

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Now at 54, he's in his second year at art college,

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and finally in touch with his inner self, and he's about to stand up

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before three very critical judges and lay himself bare.

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Literally.

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-Hello, Chris.

-Hi.

-Welcome to the Hanging Committee.

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Please tell us about your painting.

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This is my self portrait,

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which I painted from life.

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The title of the painting is called Guilt.

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Two years ago, I started a Fine Art degree,

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and at the same time, I decided also to come out

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and reveal to my fellow students and friends

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that I was a transvestite, a cross-dresser.

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That was unexpected.

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I've been in this position so many times over the years.

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It's a very strong memory of that feeling

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of after that sort of whirlwind

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of what it is in cross-dressing,

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there's quite often that sense of a very big low.

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Because, "Who am I?

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"Why have I done this?"

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You have to admire Chris's courage.

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After a lifetime keeping his cross-dressing hidden from view,

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he's finally laid his stilettos on the table for all to see.

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What valuation do you put on this work?

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I would guess about 3,000.

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£3,000. Have you sold work at that price before?

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No, never, no.

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It's a high price for a first...

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-Yes, yes.

-..oil painting.

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And I would think to knock it down a thousand pounds or so.

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Possibly, yeah. I wouldn't be at all worried about that.

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-Can we take a closer look?

-Yeah, of course you can.

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Chris and his family have been through a lot.

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If he manages to sell his painting,

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he's promised to take his wife on holiday.

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But this is about more than just money for him.

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He's finally accepted himself for who he is.

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So has his family.

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He now wants the wider world to accept him, too.

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-You've chosen to paint yourself naked.

-Yes.

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You have chosen to really strip yourself back.

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Yeah, it was about opening up

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and baring myself to the world in some ways, I suppose.

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To stare at yourself in the mirror naked for a length of time

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is not an easy one to do.

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It makes it more of an emotional painting, I think, to do that.

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Would you say this was in some ways a therapeutic painting?

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Yeah, definitely. I found it quite difficult to do.

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The judges seem moved by Chris's story.

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But, ultimately, he's being judged on the quality of his art.

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It will have to be original, emotive,

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and technically skilful,

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to earn him a place at the exhibition,

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and he'll need at least two yeses from the judges to go through.

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I like the story it tells, because it's fresh to me.

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And I like the nude subject,

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and, "Here I am. I am guilty".

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And that horrible feeling of guilt, which you had at that time.

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It's hard to fail to be moved by the painting.

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By the candid nature of your depiction of yourself.

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The idea you have the woman's heels and the nail varnish,

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hinting at one side to your personality,

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and the male jeans and a big rugged belt on this side.

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And you are there in the middle.

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And, actually, what you're saying, quite powerfully I think,

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is that whether you're in the heels or in the jeans,

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you are still you.

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Yes, that's right.

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As a narrative picture,

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I think you did very well with very limited means.

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You told us absolutely everything, without going too far,

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without hitting us on the head with a mallet.

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So, thank you for that.

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Mm, it's not everyone who gets a thank you from David.

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I'd say Chris has got his emotional message across loud and clear.

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But has he displayed sufficient technical skill?

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The first thing that strikes me is the background

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is fighting with the figure for my attention the whole time.

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And when I get to the figure, I look at it,

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and I'm quite interested, particularly in the head.

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I think there's some lovely brushwork in the head.

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But that background's just crazy.

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It's the foreground, the lower third from the knees down,

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that vies for my attention, in a bad way.

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To do a figurative painting,

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and one foot looks like it's growing into the ground, tree stump-like.

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It's too well worked-up everywhere else

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to allow that to fall away.

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The first thing that struck me was how badly it's painted.

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In part.

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The foot you were alluding to

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looks like a hoof or a trotter to me.

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My latest works were too big to enter for this competition,

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but I think they're much better.

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Well, the panel are judging Chris on this painting alone,

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and it doesn't quite come up to scratch for them technically.

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But they were moved by his story.

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It's time for the vote.

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There's a lot riding on this for Chris.

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If he gets through to the exhibition,

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it'll be an amazing platform for him to communicate his message

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to a wider audience.

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And if he sells his painting, he'll be able to take his wife on holiday.

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Chris, I'm afraid it's a no.

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David?

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No, not yet, Chris.

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Chris, I'm also going to say no.

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But I wish you all the best with your studies,

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and maybe we'll see you again.

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Oh, thank you very much. Thanks for your time.

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Powerful. Thank you.

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Chris has bared his soul, and his body, here today,

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in an attempt to get his message across, and I'd say he succeeded.

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His work won't be appearing at the Mall Galleries,

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but he has thrown some sympathetic light

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on the world of the cross-dresser.

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I think it's got to be one of the most revealing

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Hanging Committees I've ever witnessed.

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You opened up. You told us a lot about yourself.

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And a lot about your artistic ability

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and your growing career, I suppose.

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And by the sounds of it, it's all going in the right direction?

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Yeah. I don't feel knocked back by it.

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No, I feel quite privileged to be here.

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I shall just take this, and grit my teeth,

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and get on with some more work.

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-Well, we are really pleased to meet you.

-Nice to meet you too.

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-Well done to get this far.

-Thank you very much.

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-Nice to meet you.

-Thank you. Bye-bye.

-Away you go.

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Amateur and professional artists from all over the country

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sent in their artwork,

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in many different media, and of all shapes and sizes.

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But only the best got through to our Hanging Committee.

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Next up was 51-year-old Kevin Lee,

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an amateur sculptor from Norwich.

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Kevin works full time maintaining nature reserves,

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but his real passions are travel and art.

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He's come to the Hanging Committee hoping to raise some cash

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for a trip to Ethiopia.

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I love travel, yeah. It's a huge passion of mine.

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Yeah, I've been doing it for, for years now.

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Anywhere? Any type of...?

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Well, I like to get off the beaten track,

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and I would say my art is certainly influenced by my travel.

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Have you stood before critics before?

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No. This is a bit like doing my driving test,

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first day at work,

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you know, exams.

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If, for example, you get onto the Show Me The Monet exhibition here,

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it could be a life-changing experience for you.

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Oh, yeah. I know that. Yeah.

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As soon as I found out that I'd been short-listed,

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I went to work and said, "Guys, I've just had a possible

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"lottery-winning moment here".

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Yeah.

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We're giving you exposure, possibly, to lots of people out there,

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gallery owners, the public.

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-Bring it on.

-You may be the biggest thing since slice bread.

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-Come on, let's have it.

-Come on, then.

-OK.

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Through those doors are the judges.

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-Good luck. I'll see you afterwards.

-Cheers. All right, then.

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'Kevin may be entering the Hanging Committee as a complete amateur,

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'but he could be walking out as an artist,

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'with some serious credibility.

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'And if he sells his artwork,

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he'll be able to finance that trip to Ethiopia.

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'His fortunes ride on this wooden sculpture he's called Fetish Totem.

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'It's got an immediate response from the judges,

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'but is that the reaction Kevin is aiming for?'

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Kevin, hello.

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Hi.

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Welcome to the Hanging Committee.

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Could you tell us bit about your sculpture, please?

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Well, it's made out of driftwood,

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and the actual sculpture

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has been inspired by my travels...

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..mainly to Africa.

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And it took about a morning to make,

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and it represents 50 years of life experience...

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and I'm pretty proud of it.

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Wonderful. Can you tell us what price you put on this?

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Well, I put £1,500 on it.

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But, in my opinion, it's probably worth ten times that.

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Right, OK. So how did you arrive at 1,500, then?

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Well, I've made lots of smaller masks and wall hangings,

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and I usually sell those for round about 300.

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So this is a significant step up, but it is a bigger piece of work.

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It is, but you have to chance your arm a bit.

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If somebody's prepared to pay 300 for your work,

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you think, "Let's put it up a bit".

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Love your approach, Kevin.

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He made his sculpture in a morning,

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and now he's taking a bit of a punt on the valuation.

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-I think we should probably have a closer look at it now.

-Sure.

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-That's it. Smell it.

-Yeah, yeah.

-Enjoy it.

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-Smells of driftwood.

-HE LAUGHS

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Slightly burnt campfire, slightly tarry, slightly...

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-Earthy, it's earthy.

-Salty, earthy, yeah.

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Nice work, Kevin. Trying to push a new judging criteria on Roy.

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"Does the art smell nice?"

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It's fairly crude in technique.

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Sure.

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Without the paint, you have a pile of firewood there, really.

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Ah, not the best of starts, having your art compared to firewood.

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It's humorous. When the curtain came down and I saw it,

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I just smiled for 30 seconds.

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I like that he looks like he's just sat on a tack.

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Normally that sort of a little bit of a gag

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is enough to kill most things for me, but it doesn't with this.

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It's got some sort of weight, to me.

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There's just lots of energy in it.

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Kevin, I feel like this is a bit of a guilty pleasure for me.

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I do think he's kind of a crazy Bohemian beachcomber,

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who reminds me of a Swiss Army knife, I have to say,

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with all these kinds of bits of wood flailing all over the place.

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But he makes me laugh,

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and there is you know a place for English eccentricity, I think.

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So, Charlotte and Roy both like the humour in Kevin's piece.

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But is this enough to secure him a place at the exhibition?

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It's time for that possible lottery moment Kevin talked about.

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He's about to find out if he's won the jackpot,

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or if his totem has brought him bad luck.

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For the reasons I've given, I like it and I think it's worthy.

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It's a yes from me.

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David?

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It's jolly.

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But kind of trivial. No.

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Oh.

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Down to you, Charlotte.

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Kevin, so much of my head is saying no.

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But I cannot help myself, I'm going to say yes.

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Excellent. Well that's it, Kevin.

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You will be in our exhibition, and I'm quite pleased with that.

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Thank you. Thank you very much.

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-Thank you very much. Cheerio.

-Bye.

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Kevin's numbers have come up.

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Not bad for a pile of driftwood.

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The question now is, will anyone want to buy it?

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The Mall Galleries, Central London.

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And it was hard to miss Kevin's Fetish Totem.

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The great thing was, I came down the stairs,

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and there it was in the distance,

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and it was glowing, glowing like a beacon.

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And so was Kevin, in his element.

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My stage has been set, and here I am.

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And his sculpture generated lots of interest.

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I think the sculptures are great.

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There's a lovely variety.

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And I think I like all of them.

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'If anyone wanted to buy Kevin's sculpture

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'they had to meet a secret bid to an independent agent,

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'who would take a 10% commission of the final sale.

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'Any bids were handed to me in a sealed envelope,

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'to be revealed to Kevin at the end of the exhibition.'

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Did you get a sniff that people would like to buy?

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To be honest with you, I didn't get any clues at all.

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Well, I've got all your answers in here.

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How much did you want for this?

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Well, I put 1,500 on it,

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but if I can get enough to pay for my parking fees...

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-Right.

-LAUGHTER

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You didn't park near the palace, did you?

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I did. I knocked on the door, but they wouldn't let me in.

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She wouldn't let you park in there, OK. Sorry about the Queen.

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OK, let's have a look, then.

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So you wanted £1,500...

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..for your piece of work.

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Indeed.

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Kevin...

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You didn't get any offers.

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Well, I'm not surprised, you know.

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It's not everybody's cup of tea.

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You either like it or not.

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And, to be honest, you've got to have a big house to appreciate it.

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-I'm so sorry it didn't happen.

-That's all right.

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But it's been a pleasure to meet you,

0:17:330:17:35

and I wish you the best of luck in the future.

0:17:350:17:37

-Give him a round of applause.

-APPLAUSE

0:17:370:17:40

'No sale for Kevin's driftwood sculpture.

0:17:400:17:43

'He'll have to find some other way to finance his travels.

0:17:430:17:46

'But he has exhibited his work at a major London exhibition,

0:17:470:17:51

'and rubbed shoulders with some very important people in the art world.

0:17:510:17:54

'As he said himself, his stage is set.'

0:17:540:17:56

Artists arrived in their droves to show their work

0:18:040:18:07

to the Hanging Committee.

0:18:070:18:09

But the judges' bar was extremely high,

0:18:090:18:12

and not everybody made it through.

0:18:120:18:14

Professional artist Sophie Hammerton wanted £2,500

0:18:140:18:19

for her portrait of her daughter.

0:18:190:18:21

My dream is to learn to paint as well as I can,

0:18:210:18:24

taking on board techniques of the old masters.

0:18:240:18:27

And technique was very much in David's thoughts.

0:18:270:18:29

I found that flying buttress on the left shoulder a bit difficult.

0:18:290:18:34

I think it's supposed to be hair, is it?

0:18:340:18:36

It looks like a piece of wood to me, which is holding the head up.

0:18:360:18:39

But Charlotte was of a different mindset altogether.

0:18:390:18:43

You have created something

0:18:430:18:44

that makes me feel I know something about her as a girl.

0:18:440:18:49

That's a really key thing. Yes.

0:18:490:18:51

Oh, thank you.

0:18:510:18:52

No.

0:18:520:18:53

-It is a no.

-Thank you. Bye-bye.

0:18:530:18:57

Puppet maker Nigel Leach brought along his mobile seagull sculpture.

0:18:570:19:02

Although his technical skill wasn't in any doubt,

0:19:020:19:04

the judges questioned his piece's artistic merits.

0:19:040:19:08

I feel that this is more of a design object.

0:19:080:19:10

It doesn't have a great deal of depth for me.

0:19:100:19:13

Once you've got it, you can interact with the artwork.

0:19:130:19:16

You can move the individual pieces around the wires.

0:19:160:19:20

Which again makes it feel like a piece of design.

0:19:200:19:23

It's got great versatility as a toy.

0:19:230:19:25

You could sell it to children,

0:19:250:19:27

and you could sell it to executives for their office.

0:19:270:19:29

Good luck, Nigel, but no.

0:19:290:19:32

Gill Levin's childhood memories

0:19:320:19:34

of playing on the West Pier at Brighton

0:19:340:19:36

were the inspiration for her painting

0:19:360:19:38

of the now-derelict structure.

0:19:380:19:40

For me, it's a requiem, because I'm so upset that it's just been left.

0:19:400:19:44

Despite Gill's feelings, Charlotte felt it was a well-trodden path.

0:19:440:19:49

I don't believe a view of this pier can any longer be original,

0:19:490:19:52

because so many people focus their attention on it

0:19:520:19:56

when they go to Brighton, and they're an artist.

0:19:560:19:59

Roy, however, dismissed this view.

0:19:590:20:00

For originality, I haven't seen anything like this.

0:20:000:20:04

It's got a quietness about it that I like.

0:20:040:20:06

Gill, it is a yes.

0:20:060:20:07

Thank you.

0:20:070:20:10

I may regret this, but no.

0:20:100:20:11

I'm afraid it's a no from me.

0:20:110:20:14

Photography technician Tom Harrison went up before the judges

0:20:140:20:18

with an image of his father,

0:20:180:20:20

and they had nothing by praise for his photographic technique.

0:20:200:20:24

That line of shadow down the hairline,

0:20:240:20:27

all the detail is still in there, and that's really difficult to get.

0:20:270:20:30

It's a tremendous print.

0:20:300:20:32

But their focus was on its artistic worth.

0:20:320:20:35

It's that line between a commercial pose and an art photograph.

0:20:350:20:39

That's the problem I have with it.

0:20:390:20:41

Is a studio portrait,

0:20:410:20:43

however good it is technically,

0:20:430:20:46

fit for an exhibition of art?

0:20:460:20:50

It's tricky,

0:20:500:20:51

as there wasn't a huge amount of preconception behind this.

0:20:510:20:54

I didn't set out to make a study of my father.

0:20:540:20:57

This is what transpired from the shoot.

0:20:570:20:59

It's a really close call this, Tom,

0:20:590:21:02

but I will have to say no.

0:21:020:21:03

Thank you. Take care.

0:21:030:21:05

'Next up to face the Hanging Committee was 39-year-old

0:21:100:21:14

'Matthew Elliott from Plymouth.

0:21:140:21:15

'This former Marine saw action in Iraq and Northern Ireland,

0:21:170:21:20

'before injury put paid to his time on the front line.

0:21:200:21:24

'Now he wants to try and make some cash

0:21:240:21:26

'from a new career in the art world.'

0:21:260:21:29

You obviously had a serious enough injury to leave the Marines.

0:21:290:21:32

Are you OK now?

0:21:320:21:33

Yeah, it's not something that's ruined my life,

0:21:330:21:35

but it's just something I've got to take care of.

0:21:350:21:37

OK, well, that's good to hear.

0:21:370:21:39

Now you will go and see three judges, OK?

0:21:390:21:41

-Experienced, well-respected judges.

-Sure.

0:21:410:21:44

Maybe some of their advice you may not like.

0:21:440:21:47

Partly the reason I'm here.

0:21:470:21:48

I'm going to get a good, honest, professional critique,

0:21:480:21:51

instead of "like", "like".

0:21:510:21:52

You don't get anything from people just saying, "I like".

0:21:520:21:55

I don't suppose many people would say to an ex-Marine

0:21:550:21:57

they don't like their work.

0:21:570:21:59

Well, maybe my wife. HE LAUGHS

0:21:590:22:01

Yeah!

0:22:010:22:03

'Matthew may be the toughest artist to face the judges.

0:22:030:22:06

'But even his nerves must be jangling,

0:22:060:22:08

'as he's about to have his work critiqued for the very first time.'

0:22:080:22:12

SHE LAUGHS

0:22:150:22:16

'His quirky photo has definitely raised a smile

0:22:160:22:19

'with some of the judges.'

0:22:190:22:21

-Matthew, hello and welcome.

-Hello.

0:22:270:22:29

Welcome to the Hanging Committee. Please tell us about your work.

0:22:290:22:33

This piece I'm calling Eating In The Street.

0:22:330:22:35

It was part of some work for college.

0:22:350:22:37

I was looking at the concept of transformation,

0:22:370:22:41

as part of my progression.

0:22:410:22:42

I came across an idea to do this.

0:22:420:22:44

I suppose you could say it was turning point in my photography.

0:22:440:22:48

It went away from what I was doing before,

0:22:480:22:50

and it's one piece I'm quite happy with.

0:22:500:22:52

And how much do you value this work at?

0:22:520:22:54

-£100.

-It doesn't seem very much for a work this size.

0:22:540:22:57

No, no, no, no, no.

0:22:570:22:58

For me, at the minute, it's more about the photography.

0:22:580:23:01

It's more about getting out there.

0:23:010:23:03

We'll come and have a closer look.

0:23:030:23:05

OK. Thank you.

0:23:050:23:06

Matthew is right at the start of his photographic career,

0:23:080:23:10

which is why he's given his work such a low price tag.

0:23:100:23:13

But he would eventually like to make a living from his photography,

0:23:130:23:18

so will the judges see something in his work

0:23:180:23:20

that could change his fortunes?

0:23:200:23:22

Matthew, so you're a student of photography at the moment?

0:23:280:23:31

That's right, yeah.

0:23:310:23:32

-How long has that been for?

-On my second year now.

0:23:320:23:34

Second year. So, previously, what did you do?

0:23:340:23:37

I was in the Marines for 12 years.

0:23:370:23:40

Does any of that leak into your work?

0:23:400:23:42

Obviously, it doesn't in this piece.

0:23:420:23:44

No, no.

0:23:440:23:46

I'm a great admirer of Don McCullin.

0:23:460:23:48

Huge respect for frontline photographers.

0:23:480:23:52

Yeah.

0:23:520:23:53

Did you see any frontline action yourself?

0:23:530:23:55

Yeah, yes, yes. Iraq, and I was in Northern Ireland.

0:23:550:23:59

So you'd like to take photographs of that nature?

0:24:000:24:02

Yeah. I hope to go to Afghanistan before they leave, for a month or so.

0:24:020:24:07

It's a worthy ambition,

0:24:080:24:10

but for now the judges must focus on Matthew's slices of toast.

0:24:100:24:15

Is this created on a screen,

0:24:160:24:20

or did you actually go to some location and stick some toast in it?

0:24:200:24:24

No, this was location.

0:24:240:24:26

I cooked the toast at home,

0:24:270:24:28

put it in a bag, two bits of wire, and attached it to the drain.

0:24:280:24:33

OK, so, first you identified that the grid

0:24:330:24:36

-looked like the top of a toaster?

-Yeah.

0:24:360:24:39

-And you thought, "I'll put some bread in that".

-Yes.

0:24:390:24:44

And then you photographed it right in the middle of the frame?

0:24:440:24:48

Yes.

0:24:480:24:49

-And showed us exactly what you'd done.

-Yes.

0:24:490:24:53

I'm tempted to say, "Is that it?"

0:24:560:24:58

Ouch! That's a blow.

0:25:000:25:01

It is very funny, very witty. Smacks you right away.

0:25:040:25:07

As soon as it was unveiled to us, I think we all laughed.

0:25:070:25:09

-But how many times can you see that?

-Yeah.

0:25:090:25:12

It's like a T-shirt slogan.

0:25:120:25:13

Very funny when you first read it,

0:25:130:25:15

but do you want that in your cupboard?

0:25:150:25:16

The flack is flying,

0:25:180:25:20

but the ex- Marine defends his position.

0:25:200:25:22

I see you as being a photographer, you shouldn't box yourself.

0:25:240:25:27

You have to be out there,

0:25:270:25:30

trying your hand at different styles and different techniques.

0:25:300:25:35

Absolutely. You've got to experiment when you're a student,

0:25:350:25:39

-so you can find what you're going to do at the end.

-Definitely.

0:25:390:25:42

I like your passion, incidentally. I think that's estimable.

0:25:420:25:46

David's impressed by Matthew's enthusiasm

0:25:460:25:48

and willingness to try different things.

0:25:480:25:51

But, ultimately, it's this photo they're judging.

0:25:510:25:54

Is it good enough to win him a place at the exhibition?

0:25:540:25:57

Roy, I'm going to start with you. Is it yes or no?

0:26:020:26:05

It's a no, I'm afraid, Matthew.

0:26:050:26:08

-It's no from me.

-OK.

-As well.

0:26:110:26:13

I'm afraid it's no from me, too.

0:26:130:26:14

-But I hope you're not disheartened, because...

-Not at all.

0:26:140:26:17

..you're still a student, so...

0:26:170:26:19

And you've got the right idea.

0:26:190:26:20

You've got the passion, which is key. Thank you.

0:26:200:26:23

And good luck if you go to Afghanistan.

0:26:230:26:26

-Absolutely. Bye.

-Thank you.

0:26:260:26:28

'Three noes from the judges,

0:26:280:26:30

'but some extremely constructive feedback on Matthew's piece.'

0:26:300:26:34

-Matthew. Commiserations.

-Yeah, yeah.

0:26:360:26:40

How do you feel about all of that?

0:26:400:26:42

I think they were fair in what they were saying.

0:26:420:26:45

I think they went on the emotional impact on it,

0:26:450:26:48

as it's like a one-off piece, you know.

0:26:480:26:51

But I've taken it on board,

0:26:510:26:53

and I've got some really good feedback, actually.

0:26:530:26:55

I was quite impressed with some of the feedback. So it's not all bad.

0:26:550:26:58

-All right. It's been a pleasure meeting you.

-And you, Chris.

0:26:580:27:01

-I wish you the best of luck.

-Thanks for your time.

0:27:010:27:03

-Bye-bye.

-Bye-bye.

0:27:030:27:05

'Next to face the Hanging Committee at Eltham Palace

0:27:090:27:13

'was 37-year-old Manchester lad, Dean Dermody.

0:27:130:27:17

'For 12 years, Dean earned his living

0:27:170:27:19

'drawing caricatures on Blackpool beach.

0:27:190:27:22

'But he chucked the job in, to make more money as a serious artist.

0:27:220:27:25

'He wants to get through to the exhibition and make a sale

0:27:250:27:28

'so he can fulfil a lifetime's dream of visiting Florence,

0:27:280:27:31

'to see some of the world's greatest paintings.'

0:27:310:27:34

So when did you decide, "You know what? Enough is enough,

0:27:340:27:37

-"I want to do something else"?

-About two years ago.

0:27:370:27:41

Just the boredom of it,

0:27:410:27:43

and the same sort of thing, over and over again.

0:27:430:27:45

I just wanted to get out of it and I feel like I've got more to offer.

0:27:450:27:49

I look at you, you look as if you're bursting.

0:27:490:27:51

I am. I'm full of energy

0:27:510:27:52

to do with art and the painting.

0:27:520:27:54

I'm very passionate about what I do.

0:27:540:27:56

-You're like a coiled spring.

-I feel like one. Definitely today, I do feel like a coiled spring.

0:27:560:28:00

Once I get off, I'm going to go "phew" straight away.

0:28:000:28:02

I'm going to just direct this coiled spring.

0:28:020:28:04

Away you go. Through that door.

0:28:040:28:06

-Good luck, mate.

-Thank you. Bye-bye.

0:28:060:28:08

'Dean is pinning his hopes of getting through to the exhibition

0:28:100:28:13

'on his first-ever oil painting,

0:28:130:28:15

'of an old man busking.

0:28:150:28:17

'The title - Bolero in Manchester.'

0:28:170:28:20

Painting means the world to me. Without it, I feel real lost.

0:28:200:28:23

If I got to the exhibition, it would mean everything to me.

0:28:240:28:28

-Dean.

-Hiya.

-Welcome to the Hanging Committee.

-Thank you.

0:28:430:28:46

Would you like to talk us through your painting?

0:28:460:28:48

It's my first painting.

0:28:480:28:50

And it took around five weeks to paint.

0:28:500:28:52

It's like a realism style.

0:28:520:28:54

It's all new to me in a way. It's not like I've been at it years.

0:28:540:28:57

It's two or three years I've been really practising.

0:28:570:29:00

What price would you put on this painting?

0:29:000:29:02

Maybe two-and-a-half to three grand.

0:29:020:29:04

£3,000, something like that.

0:29:040:29:05

But it will be quite difficult without any form of track record

0:29:050:29:08

to jump in to such a high level.

0:29:080:29:11

-And that is a high level for any painter, really.

-OK.

0:29:110:29:15

-But I think we should have a closer look. See for ourselves.

-Thank you.

0:29:150:29:18

There's a lot riding on this for Dean.

0:29:240:29:26

Until now, he's made his living drawing caricatures.

0:29:260:29:30

If he makes it in the fine art world,

0:29:300:29:32

he could stand to earn significantly more money.

0:29:320:29:36

But have those years sketching on the beach

0:29:360:29:37

provided him with a grounding for a career in fine art?

0:29:370:29:41

For your first painting,

0:29:460:29:48

what made you choose this subject?

0:29:480:29:51

What, a question...?

0:29:510:29:52

Apart from the fact that you obviously had

0:29:520:29:54

a photograph of it hanging around.

0:29:540:29:56

Yeah, I took the photograph myself.

0:29:560:29:58

Coming back through Manchester, he was stood there.

0:29:580:30:00

I was straight over, took the picture.

0:30:000:30:02

It just seemed to have happened.

0:30:020:30:03

I have to say, for your first painting, I'm very impressed...

0:30:030:30:07

-Thank you.

-..with the level you've got to.

0:30:070:30:09

This is a very particular kind of photo realism.

0:30:090:30:11

As David said, you only get certain elements of that painting

0:30:110:30:14

-through working from a photograph.

-Yes.

0:30:140:30:16

Photo realists would have

0:30:160:30:19

projected the image onto a canvas.

0:30:190:30:22

-Yeah.

-And then painted it in. But you didn't do that with this?

0:30:220:30:25

-That's what I did.

-Is it?!

-Yeah, yeah.

-Oh, right.

0:30:250:30:28

That's what I did, yeah.

0:30:280:30:30

One of my problems with this is that this is a painting

0:30:370:30:40

of a photographic cliche.

0:30:400:30:43

Every documentary photographer

0:30:430:30:45

has a beggar-stroke-busker picture

0:30:450:30:48

in their portfolio.

0:30:480:30:51

This is your first painting.

0:30:540:30:57

And let's not lose sight of that.

0:30:570:30:59

I love the little details you've got.

0:30:590:31:01

You can see the long nails,

0:31:010:31:02

and they're dirty.

0:31:020:31:04

You can see the red rims of his eyes.

0:31:040:31:06

You have got the detail.

0:31:060:31:07

Yeah.

0:31:070:31:09

I think if you took that as a snap as you were moving by,

0:31:090:31:12

looking to get other kinds of images, you've done very, very well.

0:31:120:31:17

So, at the end of that, it's time for us

0:31:180:31:20

to come to our position on voting.

0:31:200:31:23

Everything hangs on this moment for Dean.

0:31:250:31:28

If his painting gets through to the exhibition in London,

0:31:280:31:30

he could stand to make £3,000,

0:31:300:31:34

enough to fund his dream of travelling to Italy

0:31:340:31:37

quite a few times over.

0:31:370:31:39

I think there's enough painting for me.

0:31:430:31:45

-It's a yes from me, Dean.

-Thank you.

0:31:450:31:47

Not enough yet. No.

0:31:560:31:58

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

0:32:030:32:05

-Sorry, Dean.

-That's fine, that's fine.

0:32:090:32:11

-I'll shake your hand.

-Thank you very much.

-Cheers, mate.

0:32:110:32:13

-'It's all over for Dean.'

-Sorry, Dean. Keep doing it.

0:32:130:32:16

'His hopes of showing

0:32:160:32:17

'and selling his first-ever painting have been dashed.'

0:32:170:32:20

How was that as an experience, then?

0:32:230:32:25

Very good. It'll toughen you up, definitely.

0:32:250:32:28

That's what you need. The comments they said, I thought them myself.

0:32:280:32:31

And I have expressed that to people.

0:32:310:32:33

-It's been a pleasure meeting you.

-Nice to meet you.

0:32:330:32:36

-Sorry it didn't work out this time.

-Don't worry.

0:32:360:32:38

Maybe next time. In fact, I know it'll happen next time.

0:32:380:32:40

-Thanks, Chris.

-Safe journey home.

-Thanks a lot. Cheers.

0:32:400:32:43

Artists from all over the UK queued up to show their work to the judges.

0:32:510:32:55

Some had their hopes dashed, others saw their dreams come true.

0:32:550:33:00

Kirsty O'Leary-Leeson is a 40-year-old mum of four,

0:33:020:33:05

from Plumstead in Norfolk.

0:33:050:33:07

She originally worked as a freelance illustrator,

0:33:070:33:10

but when the illustration work dried up,

0:33:100:33:12

Kirsty devoted herself to raising four kids.

0:33:120:33:15

Now, ten years later, her creative juices are flowing again.

0:33:150:33:19

She's just completed a degree in Fine Art

0:33:190:33:22

and is hoping to make some money as a professional artist.

0:33:220:33:26

-Kirsty, lovely to meet you.

-You, too.

0:33:260:33:28

-You have four children, right?

-Yes.

-And what ages are they?

0:33:280:33:31

The eldest is 15, and then there's 13,

0:33:310:33:34

I think he's ten, and just turned seven.

0:33:340:33:37

-Wow, so you have got your hands full.

-Yes.

0:33:370:33:40

What are your ambitions?

0:33:400:33:42

I would like to at least make a part-time wage,

0:33:420:33:45

make some money, at being an artist.

0:33:450:33:48

What would you do with the money?

0:33:480:33:50

In theory, it should go back into producing artwork.

0:33:500:33:54

In real life, my 13-year-old daughter,

0:33:540:33:57

a very talented pianist, wants to take up the harp now.

0:33:570:33:59

So I would probably put it towards a harp for her.

0:33:590:34:04

-Money towards a harp. Good luck.

-Thank you.

0:34:040:34:06

And make sure they don't let you cry.

0:34:060:34:09

-Through there.

-Thank you.

0:34:090:34:11

This is Kirsty's second foray into the art world,

0:34:160:34:18

and she's determined to make a success of things this time around.

0:34:180:34:23

But she's got a large family,

0:34:230:34:25

and needs to be earning money to supplement the household income.

0:34:250:34:28

So she's given herself a year

0:34:280:34:30

to turn her art into a profitable business.

0:34:300:34:35

-Kirsty, hello.

-Hello there.

0:34:380:34:40

Would you introduce us to your drawing, please?

0:34:400:34:43

This piece is called All At Sea.

0:34:430:34:45

It was originally part of my degree show installation last summer.

0:34:450:34:48

I read somewhere, a couple of years back,

0:34:480:34:50

something along the lines of,

0:34:500:34:52

"Landscape is a portrait of the soul".

0:34:520:34:54

That's what I am working towards.

0:34:540:34:57

I draw what I feel and experience, not just what I see.

0:34:570:35:01

I use my environment as a metaphor my feelings

0:35:010:35:05

and imagination and emotions.

0:35:050:35:09

Smashing. Um, how much?

0:35:090:35:10

Actually, I was going to use your expertise

0:35:100:35:14

to give me some advice,

0:35:140:35:15

OK, I tell you what,

0:35:150:35:16

shall we give you that advice after we've looked at it?

0:35:160:35:19

-Yeah, that would be fine.

-Lovely.

0:35:190:35:21

Kirsty wants to make money from her art,

0:35:260:35:28

and a spot at the Mall Galleries

0:35:280:35:30

would certainly bring her closer to achieving her goal.

0:35:300:35:33

But the gatekeepers to our exhibition are not easy to impress.

0:35:330:35:38

There will have to be something exceptional about Kirsty's drawing

0:35:380:35:41

for the judges to put her through.

0:35:410:35:43

Kirsty, have you sold anything so far?

0:35:530:35:55

I've sold a few pieces.

0:35:550:35:56

I have been in a couple of group exhibitions

0:35:560:35:58

and a few solo exhibitions.

0:35:580:35:59

How did they go? What sort of prices?

0:35:590:36:01

They were about 250, 350.

0:36:010:36:04

I think it's important that you get them out there,

0:36:040:36:07

so not to overvalue them as yet.

0:36:070:36:10

I would say anything between £600 and £900

0:36:100:36:13

-would be a good idea for that.

-Yeah.

0:36:130:36:14

Kirsty has created this work using pencil and a medium called "gesso",

0:36:160:36:20

a calcium compound, which is mixed with water to make a paste,

0:36:200:36:24

then smoothed over the surface of the paper or canvas.

0:36:240:36:27

Kirsty, I like the fact that you've challenged yourself to put

0:36:290:36:32

pencil to gesso, where you can't go back, you can't take anything out,

0:36:320:36:37

you just keep going.

0:36:370:36:38

I think that's commendable, and rarer day-by-day,

0:36:380:36:41

where people decide to take on something

0:36:410:36:44

technically a little bit trickier.

0:36:440:36:46

So Kirsty's already scored a few points for her choice of medium.

0:36:470:36:51

That's a good start, but her drawing entitled All at Sea will also

0:36:510:36:55

have to resound on a deeper level if it's to really impress these judges.

0:36:550:37:00

I think, even without your title, which is quite literal,

0:37:000:37:03

I'm not so keen on the title.

0:37:030:37:05

Yes, punning titles are verboten.

0:37:050:37:08

I shall take that on board.

0:37:080:37:10

She learns the ropes quickly, this one.

0:37:100:37:12

Particularly for a work like this, which has many ways you can read it,

0:37:120:37:17

it does look like a wake, to me.

0:37:170:37:19

The way that the wake kind of meanders behind a boat.

0:37:190:37:22

And yet, the water doesn't look particularly like a wake.

0:37:220:37:25

You could look at it like the contours of the sand.

0:37:250:37:28

Or you can see it as mountains from the sky.

0:37:280:37:31

I see it as a fault line.

0:37:310:37:32

I used to live next to the San Andreas fault for years,

0:37:320:37:35

and I see it as two plates pushing together.

0:37:350:37:38

I don't know what it's about.

0:37:380:37:40

But I'm sufficiently teased

0:37:420:37:45

and seduced by it

0:37:450:37:47

to want to get to know what it might be about.

0:37:470:37:51

You don't very often come across work that wants to draw you in,

0:37:510:37:55

and which tells you that somebody is trying to communicate with you.

0:37:550:38:00

Although it offers many different readings,

0:38:000:38:04

it all complements where you've gone with this piece, I think.

0:38:040:38:06

I, for one, feel you could look at it again and again,

0:38:060:38:09

and actually your own mood would react with it.

0:38:090:38:13

And that's a sign of a good piece of work, I think.

0:38:130:38:17

Wow, they're all going "overboard" in their praise for this piece.

0:38:170:38:20

Kirsty must be feeling pretty "buoyed-up'".

0:38:200:38:23

Sorry, David. I know you said puns are verboten.

0:38:230:38:26

Will Kirsty's drawing be heading for the Mall Galleries or the rocks?

0:38:260:38:31

It's an important moment for Kirsty.

0:38:310:38:34

She's only given herself a year to start making money from her art.

0:38:340:38:37

If she doesn't succeed, her dream of becoming a professional artist

0:38:370:38:41

may have to be consigned to the scrapheap.

0:38:410:38:44

What do I think of this?

0:38:450:38:47

What do I think of this?

0:38:470:38:49

Roy?

0:38:580:39:00

-Yes.

-Yeah!

0:39:000:39:03

Charlotte?

0:39:030:39:06

-Absolutely yes.

-Yes!

0:39:060:39:10

-As usual, I'm irrelevant.

-No, you're not. Not at all!

0:39:100:39:13

Yes.

0:39:130:39:14

Thank you very much!

0:39:160:39:17

What a triumph for this mum of four from Norfolk.

0:39:200:39:23

She's sailed through the Hanging Committee, and she's on course

0:39:230:39:26

for The Mall Galleries, and hopefully fame and fortune.

0:39:260:39:29

The question now is, will anyone want to buy her drawing?

0:39:290:39:33

The Mall Galleries, London,

0:39:410:39:43

and Kirsty's drawing was in a prime spot, right near the entrance.

0:39:430:39:47

This is quite a big achievement, to get into a London gallery.

0:39:470:39:52

I hope that it can lead onto something.

0:39:520:39:55

I've only been out of university for about nine or ten months,

0:39:550:39:58

so I think it's really great, actually.

0:39:580:40:01

This was Kirsty's moment. She rubbed shoulders with art dealers,

0:40:010:40:04

collectors, and members of the public.

0:40:040:40:07

And her gesso drawing was a bit of a talking point.

0:40:070:40:10

I would hope to bid later on, when I've seen all the pictures.

0:40:100:40:14

There's a lot of art energy on the walls, and that's a good thing.

0:40:140:40:17

It's great to see new talent at shows like this,

0:40:170:40:20

because this is where collectors

0:40:200:40:23

have the forethought, or the inclination,

0:40:230:40:27

to buy an artist's work,

0:40:270:40:29

because they think it's good, or they love it.

0:40:290:40:31

'On the judges' advice, Kirsty set her asking price at £750.

0:40:320:40:36

'Any offers will be subject to a 10% commission,

0:40:360:40:39

'to be paid to an independent agent.

0:40:390:40:42

'As the exhibition drew to a close, it was time for me

0:40:420:40:45

'to reveal to Kirsty the results of the secret bids.'

0:40:450:40:48

OK, let's just remind ourselves.

0:40:520:40:54

Exactly how much money were you looking for?

0:40:540:40:57

-I went for 750.

-OK, and what were you going to spend the money on?

0:40:570:41:00

Originally, we were thinking perhaps Keira wants to take up the harp,

0:41:000:41:04

but Ayrelia has put her full penn'orth in,

0:41:040:41:07

and she wants to go to Greece.

0:41:070:41:09

Fair enough. Right, OK. So here we go.

0:41:090:41:12

Now, you were looking at 750.

0:41:150:41:19

We've got three offers.

0:41:230:41:25

-Really?!

-Yeah.

-Wow!

0:41:250:41:28

Three offers! And the first offer...

0:41:280:41:32

..was for £750.50.

0:41:340:41:39

CHEERING 50 pence comes in useful!

0:41:390:41:42

They do, but the second offer was way higher than that.

0:41:420:41:46

It was £751.

0:41:470:41:50

LAUGHTER

0:41:500:41:52

This is where we get serious, OK?

0:41:520:41:54

Because this is the third and final offer.

0:41:540:41:56

Your final offer...

0:41:580:42:00

..was for £850.

0:42:060:42:07

APPLAUSE

0:42:070:42:09

Hey!

0:42:150:42:16

Excellent!

0:42:160:42:18

How do you feel about that?

0:42:180:42:19

That's fantastic. Great!

0:42:190:42:21

We are so pleased for you.

0:42:210:42:23

Give her a big cuddle, won't you? Go on, all give her a big hug.

0:42:230:42:26

And we'll give her a round of applause. Well done, you.

0:42:260:42:28

Thank you! APPLAUSE

0:42:280:42:30

'And what a result for Kirsty.

0:42:310:42:33

'She sold her drawing for £100 more than her asking price.

0:42:330:42:36

'And she's made contact with some very influential people

0:42:360:42:38

'in the art world.

0:42:380:42:40

'Hopefully, this is just the first step in a successful art career.

0:42:400:42:44

'That's it for today, but join us next time on Show Me the Monet,

0:42:490:42:53

'when the judges will be meeting more hopeful artists

0:42:530:42:56

'in search of success.'

0:42:560:42:57

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