Episode 6 Show Me the Monet



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Britain's top artists make big money.

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Their works can go for millions.

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

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Up and down the country, thousands of ordinary people are also

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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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To see my painting up on the wall of the gallery.

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It would be unbelievable.

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Bring it on, come on, let's have it.

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These artists could stand to make some serious cash.

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I've valued it at £1,500.

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£2,500.

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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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Do you think this is clever?

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Their hopes are in the hands of the Hanging Committee.

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Get yourself to art school and have some grounding in how to paint.

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I absolutely love it.

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It's time to Show Me The Monet.

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Hello, and welcome to Show Me The Monet.

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Over the past few months, creative people across the UK,

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both amateur and professional,

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have been vying for the chance to show and sell their work

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at our prestigious exhibition.

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But, to earn their place, they had to face the Hanging Committee.

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Charlotte Mullins has written ten books on art and contemporary culture.

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She knows what it takes to cut it in the modern art world.

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I'm looking for originality.

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

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Roy Bolton is an art dealer who's sold thousands of paintings

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over the years.

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Technical ability is the skill to express yourself

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in whatever artistic language you choose.

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And David Lee has over two decades in the game

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and doesn't mince his words when it comes to critiquing art.

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Only the greatest works of art can stop you

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in their tracks with their overpowering beauty.

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But there's no harm in trying.

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These experts were the gatekeepers to our exhibition.

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And only the very best would be selected

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to show their work at the Mall Galleries.

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I'm going to say yes.

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Coming up on today's programme, a passionate young British artist

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tells the judges what he really thinks.

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-I think that's a load of

-BLEEP.

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I think art should be about war, sex, death and religion.

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Roy gets a fit of the giggles.

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And Charlotte grapples with an unusual style.

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It's just quite difficult to look at. They're quite grotesque.

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Absolutely.

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Eltham Palace, South London,

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one of the few surviving medieval royal palaces in England.

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It was an awe-inspiring backdrop for our aspiring artists,

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as, one by one, they faced the Hanging Committee in the magnificent Great Hall.

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First over the bridge was 25-year-old graphic designer

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Joseph Steele, from Burton-on-Trent.

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He's already been tipped as one of a new generation

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of Young British Artists, and he's no stranger to controversy.

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That's not surprising, given his favourite subjects -

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sex, death, religion and war.

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I've had exhibitions across the country,

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running my own pop-up shows, and I've had some gallery shows.

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But I haven't quite had any...

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I haven't got to the next stage yet, I guess.

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Now, for a layman, what's a pop-up show?

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Anywhere there's an empty space and you can put some art in it, and

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it's a great way to get your art out to the public from an early stage.

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If you do get to the exhibition and you sell,

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what would you spend the money on?

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Well, I'm trying to make a film, a short film,

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about a hermit that lives in a wood.

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So many questions about that film, and I haven't got time, sadly.

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I've got to send you in.

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To see the judges, they are through that door.

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-Good luck!

-Thanks very much.

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Joseph's already making waves in the art world,

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but a place at the exhibition would give him some serious credibility.

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And it's this print that he's hoping will get him there.

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Hello.

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-Joseph, hello?

-Hi.

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Welcome to the Hanging Committee. Would you like to tell us about this?

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This is Nissunami,

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and it's a digital print I made in August last year.

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And it is a re-rendering of one of Hokusai's 36 Views of Mount Fuji,

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rendered entirely using hundreds and hundreds of Japanese cars.

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I created the work after the tsunami disaster,

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but I didn't think I could do it by representing the human loss,

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I wanted instead to try and connect to it through the material loss,

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which I found equally as shocking.

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OK. And how much would you charge for this?

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Between £2,800 and £3,200.

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If Joseph is to make it to the exhibition,

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he'll need two of our panel to give his work a yes vote.

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So, up close you can really see the detail, the gauges of design,

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the mountain change, the waves change, the trees change, the sky change.

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You're looking at thousands and thousands of mouse clicks,

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it's quite an obsessive, detailed work.

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And it took a month.

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They'll be judging his piece on three criteria.

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Originality, technical ability, and on emotional impact.

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Joseph, this is a direct copy,

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a reworking of a Japanese print by Hokusai,

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one of the most famous Japanese printmakers of the 19th century.

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Why did you choose this work,

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and why did you choose to work with it so literally?

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I have to think this over in my head a little bit.

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It's a bit like when I pretended to be Andy Warhol at university.

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Oh my God - no, that's dangerous, I'm not saying that!

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I was... I wanted to learn more about him, and I wanted to

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understand the composite, like, his work, what he stood for.

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Well, that has to be one of the most unusual answers

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we've had in the Hanging Committee.

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This work is really bringing up-to-date the 19th century print

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of what was a tsunami, into the 21st century.

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But I feel that making it out of cars cheapens what was

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an horrific disaster, that's very, very fresh in all our minds.

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I think that, it's sort of, I quite like to be unsettled by things,

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but I don't feel unsettled, more that I feel like I've been made to

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listen to a bad joke that will make someone else feel uncomfortable.

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He's not relating one event specifically to another,

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he's drawing, I think, a general view of natural tragedies,

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and suggesting that maybe there is a human element in them.

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And in that I can see perfectly well.

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I mean, distasteful, if you're, if you find this distasteful,

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I feel sorry for you.

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I'm finding it a confused message.

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Same here.

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Mmm, David seems to be the only judge who understands

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what Joseph's getting at here.

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Am I moved by that in any way?

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Um... Not really.

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I've seen the image, I know what you've made it of,

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I've got your message, but I don't want to come back to it,

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because I know what the message is.

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And art, really, is something you come back to many, many times

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without being able to solve, and each time you go back to it, you

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discover something new, so in, in that sense it doesn't work at all.

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Joseph.

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In terms of originality, it is, in my eyes, a direct copy of a print,

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and although I see that you've pulled it into the 21st century

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by using cars to make it,

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that just is quite a light trick,

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and there's no depth to it, so I don't connect with it emotionally.

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Can I just, I, OK, so it's a no, I guess.

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We all have our different opinions.

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I actually have more things to say.

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OK, sorry, please. Carry on.

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Joseph's clearly rattled by the critique.

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Let's see if Roy can give him any more hope.

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I think you're a very interesting character,

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I think you're a very interesting artist.

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But I have the same problem as my other two judges in different ways,

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that it's got one sole message,

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and once I know that message, I don't necessarily need to come back,

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I won't be refreshed in any way by seeing it again.

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So I'm stuck on that one.

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So, we're going to move to the vote now.

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-Can I make one last statement?

-Please do.

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I've seen a lot of art in London,

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and I see a lot of art that is like, I don't know,

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community stuff, or, like, some arrangements of cardboard.

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-And I think that's a load of

-BLEEP.

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I think art should be about war, sex, death and religion.

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And this is what I'm aspiring to make with this piece of work.

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I may not be there yet, but one day I will be able to get there.

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A passionate plea from the young artist.

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The Monet bleep machine going into overdrive on that one.

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But will he have swayed the judges?

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A place at the exhibition

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and the chance to make around £3,000 for his movie depend on it.

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Joseph. That one point, I can't come back to it again and again,

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and that's what stops it for me.

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So it is a no from me. Charlotte?

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Joseph, it's a no.

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Make sure you keep blasting at capitalism and consumerism.

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I'm afraid it's a no from me, as well.

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Oh my gosh! Right, OK. Well, thanks very much for your feedback.

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I'm extremely disappointed,

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I am genuinely extremely disappointed, but that's fine.

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I'm disappointed we don't have YOU.

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-I don't think it'll be the last we see of you.

-Yeah. Thanks. Bye.

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FOOTSTEPS ECHO

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BLEEP!

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Why's he allowed to use bad language like that when I'm not?

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-Hi.

-Oh!

-Hi, how are you doing?

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-Commiserations.

-All right.

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Deep breath. Did you find it constructive? I can see that you're angry.

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I found it constructive in so far as to get, like, to get some feedback.

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I found it less constructive in so far as I'm still here

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and I should be at work.

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-All right. I'll let you go then.

-Sweet, thanks very much.

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-Take care.

-Nice to meet you.

-Sorry to make you late.

-That's all right. Bye!

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To win a place at the exhibition, we asked artists from all over

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the country to send us their work.

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We had entries from both amateurs and professionals,

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and the standard was incredibly high.

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One of our professional entrants was Matthew Small from London.

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Matthew has developed a sizeable reputation as an artist

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over the last ten years, but he's also a man with a mission.

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If he gets through to the exhibition and sells his painting,

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he'll use the money to set up art workshops for disadvantaged people.

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Matthew. Nice to meet you.

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Lovely to meet you too.

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Now, Matthew, I'm looking down at your CV.

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It's very impressive. You're award-winning, you've sold art.

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The thing that strikes me is that you've got everything to lose.

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Are you not frightened?

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I think as an artist you know that you put your work up,

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you make it visible, people can have opinions, and you can't shy away from that.

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What are your ambitions, then?

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I think it's to allow my work to sort of be seen by more and more people.

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I think because I'm so passionate about the subject matter that I deal with,

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that's my main aim for my work.

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-I wish you the very best of luck.

-Thank you very much.

-Stay brave.

-I shall.

-Through those doors there.

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All right. Cheers, sir.

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Matthew has shown his work in galleries in London and abroad

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and he already sells pieces for up to £10,000.

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So he's taken a huge risk coming here today.

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And this is a first.

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His colourful portrait is painted not on canvas, but on a fridge door.

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If these three powerhouses of the art world don't like what they see

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Matthew's reputation could be in tatters.

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

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OK. This is a young guy.

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He's the sort of person that you might see on the housing estates,

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see him on the streets,

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the sort of person I feel is being ignored by society.

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My aim is to try and represent, give him a little bit of light.

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I want to, I want to show these guys as individuals, as opposed

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to how the media portray them, and how we all start to believe that

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they're less than, than anyone else, and I think that's my main agenda.

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And could you tell me how much you value this work for?

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Well, I have a going rate, because I'm an artist in my own right,

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so he's about three-and-a-half grand.

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We'll come and take a closer look.

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If Matthew gets through to our exhibition

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he has the chance to sell his painting.

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He plans to use the money to pay for venues

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and materials for his art workshops.

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But first he has to get past the panel.

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Do you find these fridge doors,

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is this the way you work normally, on found objects?

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I am primarily known for working on found materials.

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My mission is to sort of reclaim these things,

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and try and sort of, make use of them again.

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In the way that you're trying to reclaim your subject.

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Subject matter is exactly the same kind of process.

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If you can reclaim something that's no longer required by society,

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which a lot of young people can feel like,

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then when you marry these two, the material and the subject matter,

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I feel like it gives it a lot more of a, of a power.

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Funnily enough, I thought the fridge door would be incredibly

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distracting and unnecessary, but it does make a lot more sense,

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it does give it more power.

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So Mathew's decision to paint on a found object has earned him

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some Brownie points.

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But it's the skill of the painting on that fridge door

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that he's really being judged on.

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Can I just ask you both what you think about the paintwork?

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I mean, it's very pretty and decorative,

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but does it actually add anything to the eyes, the nose and the mouth?

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David, I don't think it's decorative at all, I think that paint

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makes this person, it gives them so much expression and energy.

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-But how?

-Energy, I just feel like you've gone, wham!

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And thrown paint at that, and that is that person's character to me.

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How can decorative, swirling paint equate to character?

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I'm saying this is not decorative, swirling paint.

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The way it splashes out across the forehead,

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the way it drips down from the eye, it gives it strength.

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-You're making it up as you go along, Charlotte.

-You're just not opening your eyes, David.

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Matthew's painting has sparked a heated debate.

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But does it fulfil all the judges' criteria?

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Technical ability, I think it has it in bucket loads.

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You've drawn a face out of what seems to the casual viewer

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to be a haphazard arrangement of Technicolor,

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but it obviously isn't that.

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Matthew, originality?

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It's not every day you see anything on fridge doors, is it?

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I like your theme, I think your theme is marvellous.

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Thank you.

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Emotional content? I think it's decorative.

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Matthew, I'm going to disagree with David. I think...

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That's nice of you!

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This is an incredibly powerful portrait.

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I love the way you've flung the paint around, but also controlled it.

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Matthew seems to be enjoying the debate his work has provoked.

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But will he still be smiling after the vote?

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As a professional artist,

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failure to make the exhibition would not be good for business.

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For me, it's an absolute and resounding yes. Congratulations.

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Brilliant.

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I'm going to surprise you.

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Yes.

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It's not perfect. But I want it in the show.

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-Brilliant.

-I'm going to say yes too. Well done.

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We're going to have great fun seeing that in the exhibition.

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-A truly worthy entrant.

-Thank you.

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Can I shake your hand?

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-Please do.

-Yay!

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It's a hat trick for Matthew.

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His portrait will hang at the Mall Galleries.

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He now has the chance to spread his message to a larger audience.

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And if he can make a sale, he'll have some valuable funding

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for those art workshops.

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The Mall Galleries, London, and I'm guessing it was

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the first time a fridge door had hung on these prestigious walls.

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I like the fridge door painting of the young boy.

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I've never seen a painting like that before.

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The exhibition was open to the public.

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And Matthew's eye-catching piece was instantly causing a stir.

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We saw a lovely piece of work by Matthew, very interesting.

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Matthew is another artist that I really enjoy and loved.

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He sort of encompassed a way of looking at portraiture,

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which wasn't necessarily about appearance.

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And as the evening got into full swing, so did Matthew.

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'The more people that come in and feel'

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a connection to it, the better, because that means I'm doing something right.

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There seemed to be no end of admirers for Matthew's work.

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But was anyone going to make a bid?

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Any offers on his work were made in secret

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and subject to a 10% sales commission.

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The results of the bidding were handled to me

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in a sealed envelope, and only revealed

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when I opened it in front of the artist for the first time.

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Matt, nice to see you.

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Good to see you too.

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How was it with your fridge door in the Mall Galleries?

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It was great, I had a good old time with it,

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people were discussing the work, which is exactly what I wanted.

0:17:520:17:55

But, other than that, there was a few people that was,

0:17:550:17:57

was sort of showing genuine interest, so whether or not

0:17:570:18:01

they've bit the bullet and gone for it, I don't know, but we shall see.

0:18:010:18:05

OK, we will, we shall see, we'll open that envelope in a minute, but I just want to -

0:18:050:18:09

look, I've got some beaming people behind you.

0:18:090:18:11

What do you reckon, family? Will he do it?

0:18:110:18:13

Yes!

0:18:130:18:14

-See?

-Everybody get their fingers crossed now, come on.

0:18:140:18:17

OK. This is the envelope.

0:18:170:18:19

I don't know what's inside, Matt, I honestly don't, I don't know.

0:18:190:18:22

Here we go.

0:18:220:18:24

You wanted £3,550.

0:18:260:18:30

-Something like that.

-Something like that.

0:18:300:18:33

-We've had one offer.

-One?

0:18:330:18:35

One offer.

0:18:350:18:36

It is £1,818.

0:18:380:18:41

-What do you reckon?

-Ooh!

0:18:410:18:45

-Family and friends? Is it enough?

-No.

-Your partner's saying no.

0:18:450:18:49

The little one at the back is shaking his head as well.

0:18:490:18:52

Honouring my career as such I'd have to sort of decline that one.

0:18:520:18:57

Unfortunately.

0:18:570:18:58

All right, well, I'll say commiserations. Bad luck.

0:18:580:19:01

-That's all right.

-But congratulations on getting all the way through to our exhibition.

0:19:010:19:05

-Hopefully you've made some great contacts.

-I think there's a few there, definitely.

0:19:050:19:08

Brilliant. And build on that career. And it's lovely to meet all of you.

0:19:080:19:11

Give him, give him a round of applause.

0:19:110:19:14

Matt may not have sold his painting this time,

0:19:160:19:19

but his work successfully caught the eye of a curator who's asked him

0:19:190:19:23

to display it in a group exhibition at another top London gallery.

0:19:230:19:27

One by one, nervous artists arrived at the Hanging Committee.

0:19:310:19:35

But only the select few were good enough.

0:19:350:19:37

James Sparshatt's photograph of a tango dancing couple

0:19:370:19:42

initially had the judges dancing to the beat.

0:19:420:19:45

I see an intense moment between these people.

0:19:450:19:48

And you have really captured that moment.

0:19:480:19:53

I think it's a very good documentary photograph.

0:19:530:19:56

So I can't commend you more highly than that.

0:19:560:19:59

But in the end, it was that documentary style that put paid

0:19:590:20:03

to his chances.

0:20:030:20:04

I just don't feel it has that art edge that I'm looking for.

0:20:040:20:08

It's a no.

0:20:080:20:10

Georgian artist Lyanna Rosa highlighted her Soviet roots

0:20:100:20:13

in her portrait of a childhood friend entitled Born In The USSR.

0:20:130:20:18

It reminded me a lot of one of the Soviet Union's officials,

0:20:180:20:21

which I was so afraid of when I was small girl.

0:20:210:20:24

Roy, for one, was impressed with her style.

0:20:240:20:27

I do like the way you've taken Soviet Realism,

0:20:270:20:30

which was a very realistic, communist-sanctioned way of painting,

0:20:300:20:34

and painting the workers heroically.

0:20:340:20:37

But Charlotte felt Lyanna had further to travel.

0:20:370:20:40

As someone who's just been painting three years, completely self-taught,

0:20:400:20:44

you've come a long way, but you need to feel something, some connection with her.

0:20:440:20:48

I don't feel that's there at the moment.

0:20:480:20:50

And, unfortunately, Lyanna's journey ended here.

0:20:500:20:53

You're almost there. But you're not.

0:20:550:20:57

Not yet. So, it's a no.

0:20:570:20:59

Next up was charity worker Clive Wakeford, with his photograph

0:21:010:21:05

of a painted dead oak tree, called A120 Ghost Tree.

0:21:050:21:09

Charlotte had issues with the presentation of his work.

0:21:090:21:13

Technically, I don't think

0:21:130:21:15

the quality of the print does it justice.

0:21:150:21:17

I didn't want it to be an absolutely perfect, pristine print.

0:21:170:21:21

I wanted it to have the air of mystique, of a spirit coming back.

0:21:210:21:25

But Roy certainly got the message behind the piece.

0:21:250:21:28

The idea behind it, very, very simple,

0:21:280:21:31

and very good.

0:21:310:21:32

It's a yes.

0:21:320:21:34

But with only one vote, Clive failed to secure a spot at the exhibition.

0:21:340:21:38

-It's a no from me.

-Thank you.

0:21:380:21:42

48-year-old art teacher Chris Jove was hoping his painting,

0:21:420:21:45

entitled Patience, would put him top of the class.

0:21:450:21:47

She's waiting for somebody.

0:21:470:21:50

That's why I positioned her over to the left, to the left-hand side,

0:21:500:21:53

to kind of suggest that.

0:21:530:21:55

Charlotte warmed to elements of the painting.

0:21:550:21:57

You have some lovely moments in this.

0:21:570:21:59

The handbag is great, the fact that her legs drop down, you know,

0:21:590:22:02

I believe those elements.

0:22:020:22:04

But David had issues with the composition.

0:22:040:22:07

I don't believe that arm is actually sitting on that leg.

0:22:070:22:10

It doesn't sit on it properly.

0:22:100:22:12

I think it's a question of what we think something should look like and what it actually looks like.

0:22:120:22:16

It was a spirited fight back, but in the end it wasn't enough.

0:22:160:22:20

Not just yet. No.

0:22:200:22:22

Also hoping to impress the judges was 53-year-old Jackie Jones,

0:22:240:22:28

a professional artist from Norwich.

0:22:280:22:29

Jackie is passionate about the environment,

0:22:290:22:33

and has come to the Hanging Committee hoping to raise money

0:22:330:22:36

to put towards a research trip to the Arctic.

0:22:360:22:38

She submitted this sculpture, which is entitled A Bag For Life.

0:22:380:22:43

-Hello, Jackie.

-Hi.

-Welcome to the Hanging Committee.

0:22:520:22:54

Would you introduce us to your sculpture, please?

0:22:540:22:57

I'm an artist that's interested in environmental issues.

0:22:570:23:00

I think in society today we very much use packaging,

0:23:000:23:04

use plastic packaging, we just take the food out of the plastic tray

0:23:040:23:07

and throw it into landfill, because a lot of plastics can't be recycled.

0:23:070:23:11

And this is part of a series,

0:23:110:23:14

but all the bags are sculpted in the form of embryonic figures.

0:23:140:23:20

Thank you very much. And what price do you put on this?

0:23:200:23:23

On this piece it would be around £300.

0:23:230:23:26

That's great, thank you, we'll have a closer look now.

0:23:260:23:28

Jackie's hoping her foetus-shaped sculpture

0:23:300:23:33

will provoke debate about environmental issues.

0:23:330:23:35

If she gets to our exhibition and sells her work,

0:23:350:23:38

she plans to put the money towards a trip to the Arctic to help

0:23:380:23:41

inspire new environmental art.

0:23:410:23:43

A lot is riding on the next few minutes.

0:23:430:23:45

No wonder she's looking a little nervous.

0:23:450:23:50

Jackie, if I were to re-title this work A Bag For Death,

0:23:520:23:57

would I be going off the rails as far as you're concerned?

0:23:570:24:01

I think that's really interesting.

0:24:010:24:03

It can be interpreted different ways. I'm happy for that to happen.

0:24:030:24:07

Maybe I would say, well, maybe, it's a little bit of death of the planet,

0:24:070:24:13

really, because we're using, plundering resources wastefully.

0:24:130:24:17

Jackie, you obviously want this to be emotionally unsettling,

0:24:170:24:20

you've used an incredibly evocative form.

0:24:200:24:23

What led you to connect the material to that sculptural form?

0:24:230:24:28

This foetal position is a way of maybe thinking about

0:24:290:24:34

the next generation,

0:24:340:24:35

and that we should nurture our planet for the next generation.

0:24:350:24:41

Jackie, the plastic is a water-soluble plastic, isn't it?

0:24:410:24:45

So, biodegradable.

0:24:450:24:46

It isn't biodegradable.

0:24:460:24:48

It's an oil-based plastic, I've got to say,

0:24:480:24:50

it isn't biodegradable unless it had hot water put onto it.

0:24:500:24:55

Speaking of hot water and the medium, I noticed it's full of rice,

0:24:550:24:59

sort of boil-in-the-bag rice.

0:24:590:25:02

Is that significant to the piece?

0:25:020:25:03

I chose rice as a medium

0:25:030:25:06

because globally rice is a staple food product.

0:25:060:25:09

Jackie seems to have thought of every little detail.

0:25:090:25:13

Even the rice has a meaning behind it.

0:25:130:25:15

But, will the environmental message hit home with the judges?

0:25:150:25:18

I think, by itself, without Jackie's explanation, I...

0:25:180:25:22

you obviously get a foetal position and a small, you know,

0:25:220:25:26

a child of mid-term, sort of four months or so,

0:25:260:25:29

that sort of size, I imagine.

0:25:290:25:31

But I'm not sure I get anything too much about the Earth,

0:25:310:25:35

or the planet.

0:25:350:25:36

I don't, I don't think it matters, does it, does it, Roy?

0:25:360:25:40

Does any of that matter?

0:25:400:25:42

I mean, it's obviously had very significant

0:25:420:25:46

layers of meaning for all of us in different ways.

0:25:460:25:50

And if somebody can use a few scraps of plastic, manipulate it,

0:25:500:25:56

quite simply, actually, and produce that kind of effect,

0:25:560:26:01

that is surely what the definition of art is.

0:26:010:26:04

I am getting a mixed message from this.

0:26:040:26:07

I do find it a powerful piece.

0:26:070:26:09

But when I looked at it I wasn't totally convinced by it.

0:26:100:26:14

So, now we are going to move to our vote,

0:26:150:26:17

to see whether this is going to come with us to the Mall Galleries.

0:26:170:26:21

This one hangs in the balance.

0:26:220:26:25

All three judges have had a strong response to the work.

0:26:250:26:27

But they're reading it in different ways.

0:26:270:26:30

But all that matters now is, how will they vote?

0:26:300:26:32

-David, would you like to go first?

-Yes, definitely.

0:26:320:26:35

Thank you.

0:26:350:26:36

Charlotte?

0:26:380:26:39

Sorry, I'm really on the fence with this one,

0:26:430:26:46

and that really surprises me.

0:26:460:26:49

So, for that reason, I think I have to say no.

0:26:500:26:53

The casting vote.

0:26:580:26:59

I can't see any reason why I would say no.

0:27:010:27:04

So it's a yes from me.

0:27:040:27:06

Oh, I'm so pleased.

0:27:060:27:08

I'm so pleased you just totally got it, as well.

0:27:080:27:11

Thank you so much. That means a lot to me.

0:27:110:27:14

Look forward to seeing it again, and you.

0:27:140:27:16

Two yeses for Jackie.

0:27:160:27:18

Her sculpture will be part of our grand exhibition.

0:27:180:27:21

But will she find a buyer who wants to own her Bag For Life?

0:27:210:27:24

The Mall Galleries, London.

0:27:260:27:28

Jackie's sculpture may have been one of the smallest in the room,

0:27:280:27:31

but it was certainly drawing in a big crowd.

0:27:310:27:33

Jackie was in her element.

0:27:330:27:35

But would anyone want to stump up the cash

0:27:350:27:36

when it came to the sealed bid?

0:27:360:27:38

Any offers on her work were subject to a 10% sales commission,

0:27:380:27:42

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

0:27:420:27:45

when I opened the sealed envelope for the first time.

0:27:450:27:49

How was it for you last night?

0:27:500:27:52

Fantastic evening. It was a really fantastic evening.

0:27:520:27:54

There was quite a lot of interest in my piece, and, yeah,

0:27:540:27:57

I really enjoyed it.

0:27:570:27:59

-So, down to the nitty gritty.

-Yes.

0:27:590:28:02

How much were we looking for?

0:28:020:28:03

£300.

0:28:030:28:04

And what were you going to do with that money?

0:28:040:28:06

I'd like to put it towards

0:28:060:28:08

a trip to the Arctic.

0:28:080:28:10

Fingers crossed, everybody.

0:28:100:28:12

Let's see if Jackie will be off on that trip.

0:28:120:28:14

OK.

0:28:180:28:19

So you wanted £300.

0:28:190:28:23

Yes. That would be lovely.

0:28:230:28:24

You've had an offer. For £311.11!

0:28:240:28:29

'She's done it.

0:28:320:28:33

'Jackie's successfully sold her piece,

0:28:330:28:35

'and for more than her asking price.

0:28:350:28:38

'She's one step closer to that Arctic adventure.'

0:28:380:28:40

It's lovely that somebody appreciates it. Yeah.

0:28:400:28:44

Fantastic.

0:28:440:28:45

Back at Eltham Palace, 47-year-old Alyson Jackson was next up.

0:28:520:28:56

She's always wanted to be a photographer, but with two sons

0:28:560:29:00

to bring up, she opted for a secure job and became a careers advisor.

0:29:000:29:04

But after 18 years advising others,

0:29:040:29:07

she decided it was time to change her own career,

0:29:070:29:10

and gave up her job to try to become a professional artist.

0:29:100:29:13

Today she's brought along her photograph, Pembroke Water,

0:29:130:29:16

to see if she's made the right decision.

0:29:160:29:19

Alyson. Welcome to the Hanging Committee.

0:29:300:29:32

Would you like to discuss your photograph?

0:29:320:29:34

Yes, um... Oh! Right.

0:29:340:29:38

It's a photograph that I took in Pembrokeshire,

0:29:380:29:40

where I went just to escape, really.

0:29:400:29:43

I think it was because - I just, I like the way that

0:29:430:29:47

there's something solid in it,

0:29:470:29:49

and then everything around it is moving and dynamic,

0:29:490:29:51

a bit cliched, but it's a bit of a sort of metaphor for life for me,

0:29:510:29:54

it's this, the sea has already been a passion.

0:29:540:29:56

So, what I've tried to capture is some kind of essence of that,

0:29:560:30:00

some kind of sense of that place for me.

0:30:000:30:02

And what value do you put on this?

0:30:020:30:04

I think £450.

0:30:040:30:06

-We should have a closer look, I think.

-Sure.

0:30:060:30:09

If Alyson manages to sell her work,

0:30:100:30:12

that £450 will go towards treating her family to a fun day out.

0:30:120:30:17

She must be feeling very nervous,

0:30:170:30:19

as three of the art world's most respected critics

0:30:190:30:22

decide if her piece is good enough for their exhibition.

0:30:220:30:25

A black-and-white photograph of the sea,

0:30:370:30:40

it's hard to be original with that and you've done it with the format.

0:30:400:30:43

-Do you think you have the photographer's eye?

-Yes. Yes, I do.

0:30:430:30:47

I almost walk through my whole life

0:30:470:30:49

with a frame of what might... and I'm aware of light, all that,

0:30:490:30:53

it's something that's been there for a long time.

0:30:530:30:55

Why, therefore, did you take

0:30:550:30:57

what IS an old-fashioned photographic cliche?

0:30:570:31:00

Because we've all got three versions of this picture

0:31:000:31:03

-in our portfolio, haven't we?

-This was different for me, though.

0:31:030:31:07

I think, to be honest, one of the issues for me is that...

0:31:070:31:10

it sounds so cliched, but it is such a passion for me

0:31:100:31:13

that I don't necessarily want to get to that point where I've cracked it.

0:31:130:31:18

The reason that I love to go and spend five days on my own,

0:31:180:31:21

away from my kids and my husband and my dogs

0:31:210:31:24

-is that I just want to do it more and more.

-Alyson.

0:31:240:31:27

The ambiguity in this photograph I find interesting.

0:31:270:31:31

Unfortunately, where your work, I think, just falls down,

0:31:310:31:34

is on originality.

0:31:340:31:36

I feel that I could walk into any coastal gallery and see this image.

0:31:360:31:40

That this is not sufficiently making me see the sea anew,

0:31:400:31:45

through your eyes.

0:31:450:31:46

Oh, dear.

0:31:460:31:48

Alyson has taken a huge risk giving up her job

0:31:480:31:50

to see if she can make a living from her photographs.

0:31:500:31:53

Now she really wants to know that she's on the right path at last.

0:31:530:31:56

But I'm not sure how the vote will go for her.

0:31:560:32:00

Hmm.

0:32:010:32:02

No.

0:32:090:32:10

Charlotte?

0:32:120:32:13

-I'm afraid it's no.

-OK.

0:32:170:32:19

I'm sorry, Alyson, it doesn't really matter what I say at this point

0:32:210:32:25

but it would also be a no.

0:32:250:32:26

Thank you. I really, really appreciate your comments. Thank you.

0:32:260:32:29

Oh, no. That's a bitter disappointment for Alyson.

0:32:290:32:32

Although the judges have recognised her talent,

0:32:320:32:34

they say she's not quite ready yet.

0:32:340:32:37

I know we hoped that if you got to the exhibition, it would mean

0:32:390:32:43

you're on the right path, Alyson,

0:32:430:32:44

and this is where you found your niche in life.

0:32:440:32:47

Have we still found that? Have we still done it?

0:32:470:32:49

Oh, yes, without a doubt, I will still continue to do this,

0:32:490:32:52

without any shadow of a doubt.

0:32:520:32:54

-I love it.

-I'm going to shake your hand and say the best of luck.

0:32:540:32:57

-Thank you very much.

-Not this time

0:32:570:32:58

-but maybe next time. See you soon.

-Bye-bye.

-Lovely to meet you.

0:32:580:33:01

One after another, the artists waited to see the Hanging Committee

0:33:060:33:11

but only a few would leave with a coveted spot at the exhibition.

0:33:110:33:14

Next in line was 64-year-old Judith Barton,

0:33:150:33:18

a professional painter from the Isle of Wight.

0:33:180:33:22

Judith was a late starter in the art world,

0:33:220:33:24

and in fact, it was a miracle she started at all.

0:33:240:33:27

-Hi Judith, welcome to Show Me the Monet. Nice to meet you.

-Hi.

0:33:290:33:34

I was diagnosed with a genetic eye disorder called Best's Disease,

0:33:340:33:37

which is a disease of the retina.

0:33:370:33:40

Right, so what does that mean? You can see...

0:33:400:33:42

You know, the central vision's gone.

0:33:420:33:44

-So it's right in the centre.

-The central vision, yeah, the retina.

0:33:440:33:47

Does that affect how you work with...?

0:33:470:33:50

Yeah, I work very big now.

0:33:500:33:52

-SHE LAUGHS

-Right, so it has to be massive. OK.

0:33:520:33:55

What turned it around for you? What was the turning point?

0:33:550:33:57

It was my youngest daughter.

0:33:570:33:59

It was the Daily Mail, they launched the Not the Turner Prize.

0:33:590:34:02

-Right.

-And unbeknown to me, she entered me for that

0:34:020:34:06

and yeah, I was selected to exhibit at the Mall Galleries.

0:34:060:34:10

I've heard of that place! I think we're going back there, aren't we?

0:34:100:34:14

-And it's been good, so there's always a positive, isn't there?

-Yes.

0:34:140:34:18

Out of something that appears negative at the time.

0:34:180:34:20

Love it. OK, so if you do get to the exhibition,

0:34:200:34:23

you convince those judges you are the best thing since sliced bread

0:34:230:34:26

and you sell at the exhibition, what would you spend your money on?

0:34:260:34:29

Well, I'd take the family out for a really fantastic dinner.

0:34:290:34:33

-Well, good luck.

-Thank you.

0:34:330:34:35

-The judges await through that door.

-Thank you.

0:34:350:34:38

I'm sure you're going to wow them.

0:34:380:34:39

Judith has already hung her work once in the Mall Galleries.

0:34:410:34:45

What would it do to her confidence if she was rejected this time?

0:34:450:34:50

Judith has submitted this huge oil painting entitled Birthday Girls.

0:34:500:34:54

Let's hope our judges aren't about to spoil the party.

0:34:540:34:59

-Judith. Hello. Welcome to the Hanging Committee.

-Hello.

0:35:070:35:10

-Would you like to introduce us to your painting, please?

-Well,

0:35:100:35:13

I got the idea for this painting

0:35:130:35:15

when I saw two ladies celebrating a birthday.

0:35:150:35:20

And as the wine flowed, they became more and more animated,

0:35:200:35:24

and they got louder and louder

0:35:240:35:26

and they just could not stop laughing

0:35:260:35:29

and it was very contagious.

0:35:290:35:30

And I thought to myself that

0:35:300:35:34

here they were, these ladies with their big, gnarled, arthritic hands,

0:35:340:35:39

and their warm faces, and yet they really inspired me.

0:35:390:35:43

-I thought it was such positive energy.

-Fantastic, it is quite inspirational.

0:35:430:35:46

Can you tell us, then, what price you'd put on a painting like this?

0:35:460:35:51

It's got 7,500 on it.

0:35:510:35:53

7,500. OK.

0:35:530:35:55

And you strike me as a professional artist, am I right?

0:35:550:35:59

-Yes. Yes.

-Have you been painting all your life?

0:35:590:36:01

Yes, there was a big gap in my painting career,

0:36:010:36:05

of actually about 25 years.

0:36:050:36:07

I was diagnosed with Best's disease

0:36:070:36:09

and I am now registered partially sighted.

0:36:090:36:12

But it was my youngest daughter

0:36:120:36:15

who actually got me back to work again, actually.

0:36:150:36:18

Right, well, that is quite a story,

0:36:180:36:20

-and something to thank your daughter for.

-Yeah, absolutely.

0:36:200:36:23

Judith, I think we'll take a look at this.

0:36:230:36:26

Seven-and-a-half grand!

0:36:280:36:30

Now, that would be some dinner for the family.

0:36:300:36:33

Judith wasn't kidding about the size of her work. It's a whopper!

0:36:330:36:37

And now every inch of it is being examined.

0:36:370:36:40

Judith, we're each going to ask you a few questions now, individually.

0:36:530:36:56

What I want to talk about most is the scale.

0:36:560:37:00

Normally, with a lot of pictures, I might suggest to an artist

0:37:000:37:03

that they need to upscale. This is already vast, and I actually think

0:37:030:37:06

it would work a lot better if it was smaller.

0:37:060:37:08

You were talking about your eye illness.

0:37:080:37:11

-That's why I paint this size.

-That's why.

0:37:110:37:13

Judith, I know you can take some license with caricature,

0:37:130:37:18

but those hands are taking over the world, aren't they?

0:37:180:37:22

-They are. They are indeed.

-Why?

0:37:220:37:25

Because...when I was painting this, I was thinking back,

0:37:250:37:29

and these ladies were larger than life,

0:37:290:37:32

with huge gesticulations.

0:37:320:37:36

And they were huge, gnarled, arthritic hands.

0:37:360:37:39

-It's just quite difficult to look at. They're quite grotesque.

-Absolutely.

0:37:390:37:44

For my part, I love the hands, I think they're...they're grotesque

0:37:440:37:50

-but they do, for me, they do exactly what you intended.

-Thank you.

0:37:500:37:53

They're greedily scoffing up the fun, and the sweets, and the wine.

0:37:530:37:57

-They are.

-And it is infectious.

0:37:570:37:59

The ring marks all over the table from the numerous glasses of wine

0:37:590:38:02

being spilled in the middle of laughing.

0:38:020:38:05

-It would make a tremendous greetings card. A birthday card.

-Yeah.

0:38:050:38:10

Hmm, and as a card, it could be a real money-spinner.

0:38:100:38:14

Do I think there's anything more than great illustration?

0:38:140:38:20

Of that, I'm not sure.

0:38:200:38:22

My issue comes down to originality,

0:38:250:38:28

to whether something so illustrative can transcend into art.

0:38:280:38:33

It brings a massive smile to my face when I see it.

0:38:350:38:37

But when I'm walking past it at 6.30 in the morning

0:38:370:38:40

with a cup of coffee, feeling grumpy,

0:38:400:38:42

-they'll just annoy me. And that's different.

-They might cheer you up.

0:38:420:38:46

They might do, but on the 50th time, I'm not sure they would.

0:38:460:38:49

This one is a nail-biter.

0:38:490:38:51

The birthday girls have got the judges' attention

0:38:510:38:55

but have they done enough

0:38:550:38:56

to get Judith an invitation to our party at the Mall Galleries?

0:38:560:39:00

I don't think we should discriminate against illustration or caricature.

0:39:010:39:08

Yes.

0:39:080:39:10

Charlotte.

0:39:120:39:13

We're selecting for an art exhibition.

0:39:140:39:17

I'm going to have to say no.

0:39:170:39:18

Thank you.

0:39:200:39:22

Judith, I'm right on the edge. But I'm going to say yes.

0:39:220:39:25

-Thank you.

-Congratulations.

-Thank you very much.

0:39:250:39:28

-You're very welcome.

-Thank you, God bless.

-A yes from Roy and David.

0:39:280:39:32

Judith has earned her place at the exhibition.

0:39:320:39:35

But will anyone want to buy her gigantic painting?

0:39:350:39:38

The Mall Galleries, London.

0:39:400:39:42

The exhibition was the talk of the town

0:39:420:39:45

and Judith's painting took its place amongst the select few.

0:39:450:39:49

As the room filled up, the party girls were in great spirits.

0:39:490:39:52

And their mood seemed to be infectious.

0:39:520:39:55

She made me laugh. Judith Barton's work, I just love it.

0:39:550:39:59

I think there's so much humour, and life,

0:39:590:40:02

and things that I can relate to in that. I would love that on my wall,

0:40:020:40:05

I would love it, cos it would make me smile.

0:40:050:40:07

There was no doubt the work was a talking point.

0:40:070:40:11

But would anyone have £7,500 or the space for such a large painting?

0:40:110:40:15

I would love to bid for the Judy Barton piece,

0:40:150:40:18

but, you know, it's an order of magnitude

0:40:180:40:21

over and above what I've got in my pocket tonight!

0:40:210:40:24

The public could bid on any piece

0:40:240:40:26

but they couldn't negotiate directly with the artist.

0:40:260:40:28

They could only make secret sealed bids to an independent agent

0:40:280:40:32

who would take a 10% commission on the final sale.

0:40:320:40:35

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

0:40:350:40:38

and only revealed to the artist at the end of the exhibition.

0:40:380:40:41

Judith. Welcome.

0:40:430:40:44

-Thank you.

-How was it last night?

0:40:440:40:46

-Fantastic.

-Yeah?

-Really, really, great, great time.

0:40:460:40:49

Met loads of fantastic people.

0:40:490:40:51

Lots of positive comments, and, yeah, really enjoyed it.

0:40:510:40:55

To coin a sort of phrase from showbiz,

0:40:550:40:57

you owned that room last night. When I was walking around, you were,

0:40:570:41:01

everybody was around this wonderful piece

0:41:010:41:04

and you were telling everybody what it was about.

0:41:040:41:06

Yeah, everybody was having fun with the girls.

0:41:060:41:10

-And they were really enjoying themselves.

-Yeah?

0:41:100:41:12

They loved it, they loved the attention.

0:41:120:41:14

-Now, I'm looking around. You've got a big entourage with you.

-I have.

0:41:140:41:18

Hello, everybody. Are you all proud of her?

0:41:180:41:21

-Very.

-Yeah.

-Very, very proud indeed.

0:41:210:41:23

-How much money did you want for this?

-7,500.

0:41:230:41:26

7,500. And what were you going to do with the money?

0:41:260:41:29

Well, celebrate with my family, and my extended family,

0:41:290:41:32

and then everything back into the art.

0:41:320:41:34

So that's why they're here? For the big slap-up meal and drinks tonight?

0:41:340:41:38

-Yeah.

-Come on! Your sons are already rubbing their hands.

0:41:380:41:41

How confident are you? Did you smell bidders?

0:41:410:41:44

No, no, I'm not thinking in terms of that, to be perfectly honest.

0:41:440:41:49

You know, for me, the achievement was being part of the exhibition.

0:41:490:41:52

The rest is the icing on the cake.

0:41:520:41:54

-Well, could be.

-Could be.

-We'll see.

0:41:540:41:57

Right. So, you want 7,500.

0:41:570:41:59

We didn't get any offers.

0:42:050:42:06

-Oh, well, never mind.

-Oh, no!

0:42:060:42:08

-It's fine.

-I can hear the "ahh"s behind me there,

0:42:080:42:11

-cos they can't believe it, it was a very popular piece.

-Yeah.

0:42:110:42:14

Yeah, it really doesn't matter.

0:42:140:42:16

As I say, you know,

0:42:160:42:17

being part of the exhibition was the thing for me. Really and truly.

0:42:170:42:21

-I'm really sorry. I'll give you a cuddle.

-No, don't worry.

0:42:210:42:23

-I honestly don't mind.

-Good luck with everything.

-Thank you.

0:42:230:42:26

-And that is a fantastic piece.

-Thank you.

-We wish you the best of luck.

0:42:260:42:30

-Thank you very much.

-All right. Give her a cuddle, she needs it!

0:42:300:42:33

APPLAUSE

0:42:330:42:35

What a shame. But since then,

0:42:350:42:38

Judith has successfully returned to the Mall Galleries

0:42:380:42:41

to exhibit with the Society of Women Artists.

0:42:410:42:43

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0:43:100:43:14

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