0:00:02 > 0:00:04Britain's top artists make big money.
0:00:04 > 0:00:05Their works can go for millions.
0:00:05 > 0:00:079.5 million. 10 million.
0:00:07 > 0:00:0910.5 million. 11 million.
0:00:11 > 0:00:14Up and down the country, thousands of ordinary people
0:00:14 > 0:00:16are also trying to get a piece of the action.
0:00:16 > 0:00:19They're putting their necks on the block for the chance
0:00:19 > 0:00:22to sell at the hottest exhibition in town.
0:00:22 > 0:00:23It really means a lot to me.
0:00:23 > 0:00:26This one would be incredible. I'd love it.
0:00:26 > 0:00:29It would mean a hell of a lot, putting my work out there for different people to see.
0:00:29 > 0:00:33These artists could stand to make some serious cash.
0:00:33 > 0:00:34- £5,000.- 1,500.
0:00:34 > 0:00:37The price I'd put on this would be £1,400.
0:00:37 > 0:00:40But first they need the seal of approval
0:00:40 > 0:00:43from three of the art world's toughest critics.
0:00:43 > 0:00:46I'd like to be able to say something positive to you about it.
0:00:48 > 0:00:50But I can't think of anything.
0:00:50 > 0:00:52Their hopes are in the hands of the Hanging Committee.
0:00:52 > 0:00:55Fantastic piece of work. The best thing I've seen so far.
0:00:55 > 0:00:57But I think you're one to watch for the future.
0:00:57 > 0:01:00It's time to Show Me The Monet.
0:01:02 > 0:01:04Hello and welcome to Show Me The Monet.
0:01:04 > 0:01:07Over the past few months, ambitious artists, both professional
0:01:07 > 0:01:10and amateur, have been facing our rigorous judging panel,
0:01:10 > 0:01:12the Hanging Committee.
0:01:12 > 0:01:15Their aim to be chosen to show and sell their work
0:01:15 > 0:01:18at our prestigious London exhibition,
0:01:18 > 0:01:21at The Mall Galleries, just down the road from Buckingham Palace.
0:01:21 > 0:01:25But to find a spot on the walls at The Mall Galleries,
0:01:25 > 0:01:28they had to impress three of the art world's sharpest critics.
0:01:28 > 0:01:31Hanging judge David Lee prides himself
0:01:31 > 0:01:35on cutting through the hype when it comes to modern art.
0:01:35 > 0:01:37Good technique through practise is essential.
0:01:37 > 0:01:39Without it they'll get nowhere.
0:01:39 > 0:01:40Roy Bolton values art
0:01:40 > 0:01:43for some of the world's most exclusive auction houses.
0:01:43 > 0:01:47He knows that great art must have something new to say.
0:01:47 > 0:01:49Originality is the backbone of a great artist.
0:01:49 > 0:01:52If it's been done already, why should anybody pay attention?
0:01:52 > 0:01:56And Charlotte Mullins has written ten books on contemporary culture.
0:01:56 > 0:02:00She knows what it takes to cut it in the modern art world.
0:02:00 > 0:02:03The key thing is that how a work is made communicates effectively
0:02:03 > 0:02:05what it's trying to say.
0:02:09 > 0:02:10Coming up on today's programme...
0:02:10 > 0:02:12one artist goes head to head with David...
0:02:12 > 0:02:16I think you're harming the contemporary art world.
0:02:16 > 0:02:18I think YOU are.
0:02:18 > 0:02:23I think it's people like you who get contemporary art a bad name.
0:02:23 > 0:02:25..and a sculpture hits the wrong note for Charlotte.
0:02:25 > 0:02:28To me it looks like some extreme floristry.
0:02:33 > 0:02:37Eltham Palace, South London, was the home of society couple
0:02:37 > 0:02:40and patrons of the arts Stephen and Virginia Courtauld.
0:02:40 > 0:02:43They built their art deco mansion next to the ruins
0:02:43 > 0:02:48of the medieval palace and it was here, in the magnificent Great Hall,
0:02:48 > 0:02:51that our judges set up their Hanging Committee.
0:02:53 > 0:02:56Artists from all over the country arrived in the hope
0:02:56 > 0:02:58of landing a place in the exhibition.
0:02:58 > 0:03:03To go through they needed at least two yeses from the judges.
0:03:05 > 0:03:10Our first artist to brave the Hanging Committee was 46-year-old
0:03:10 > 0:03:13Texan Broose Dickinson.
0:03:13 > 0:03:16Broose moved to the UK two years ago to study fine art
0:03:16 > 0:03:19and he's looking make his mark on the British art scene.
0:03:19 > 0:03:23It's a second career for Broose, who up until now
0:03:23 > 0:03:25has been focussed on the music industry.
0:03:25 > 0:03:27I'm a singer-songwriter as well.
0:03:27 > 0:03:32And in the '90s and then around 2000 it kind of switched
0:03:32 > 0:03:35and visual art became in the forefront.
0:03:35 > 0:03:36Did you have some hits in the '90s?
0:03:36 > 0:03:39No. We were regional in Texas.
0:03:39 > 0:03:42Kind of regional hits, but never beyond that.
0:03:42 > 0:03:43So what are your ambitions then?
0:03:43 > 0:03:47Now I maybe would like to make a more substantial living
0:03:47 > 0:03:49from being an artist.
0:03:49 > 0:03:51What would you do if you go to the exhibition and you sold
0:03:51 > 0:03:54and you got some money, some cash in the pocket?
0:03:54 > 0:03:57- I'd buy a motorcycle.- You'd buy a motorbike to travel around the UK?
0:03:57 > 0:04:00So I'd have some sort of transport here,
0:04:00 > 0:04:02other than public transportation.
0:04:02 > 0:04:04- All right. Good luck, sir. - All right, thank you.
0:04:04 > 0:04:07- The judges are through that door. - Thank you.
0:04:07 > 0:04:13This is a great chance for Broose to raise his profile in the UK.
0:04:13 > 0:04:16He's chosen to show this curious piece.
0:04:17 > 0:04:19But I'm not really sure what it is.
0:04:33 > 0:04:36Broose welcome to the Hanging Committee.
0:04:36 > 0:04:40- Thank you. - Of all the works we've seen so far, I think this needs an explanation.
0:04:40 > 0:04:42So would you give it please?
0:04:42 > 0:04:45This is the Mona Lisa In Literary Form
0:04:45 > 0:04:49and what I did is I took an image of the Mona Lisa.
0:04:49 > 0:04:51I converted it to HTML.
0:04:51 > 0:04:53Can you just explain what HTML is?
0:04:53 > 0:04:55HTML's computer code.
0:04:55 > 0:04:56Thank you.
0:04:56 > 0:05:00And um I filed it with the Library of Congress as a literary work,
0:05:00 > 0:05:04and therefore I own the copyright to the Mona Lisa,
0:05:04 > 0:05:06at least the literary copyright.
0:05:08 > 0:05:11If you put the HTML in an internet browser,
0:05:11 > 0:05:16what appears to be a picture shows up in the internet of the Mona Lisa,
0:05:16 > 0:05:18but it's not actually a picture,
0:05:18 > 0:05:22it's just, you know, computer code HTML
0:05:22 > 0:05:26telling where to put background colours in a table.
0:05:26 > 0:05:31So if you try to right click and save the image, you can't.
0:05:31 > 0:05:32What value do you put on this?
0:05:32 > 0:05:35For this piece right here I said £1,500.
0:05:35 > 0:05:39Let's have a closer look at it and discuss it further.
0:05:41 > 0:05:43Hmm, I'm gob-smacked.
0:05:43 > 0:05:46The Mona Lisa here on Show Me The Monet.
0:05:46 > 0:05:49But not as we know it.
0:05:49 > 0:05:53I'm confused. The judges look confused.
0:05:53 > 0:05:56And Broose, well, he wants to sell it and buy a new motorcycle.
0:05:58 > 0:06:01To get through, the judges are looking for originality,
0:06:01 > 0:06:05technical skill and emotional impact.
0:06:05 > 0:06:07Will Broose's work tick these boxes?
0:06:09 > 0:06:11Broose, sorry for sounding facetious,
0:06:11 > 0:06:13um, do you think this is clever?
0:06:15 > 0:06:17I think it's partially clever.
0:06:17 > 0:06:20But I also think it has a lot of relevance to what's happening now.
0:06:20 > 0:06:22It's got nothing to do with photographic images
0:06:22 > 0:06:25on the internet of the Mona Lisa?
0:06:25 > 0:06:27- This is a... - It does a little bit.
0:06:27 > 0:06:29I mean it comments on that sort of indirectly.
0:06:29 > 0:06:31What does it comment about?
0:06:31 > 0:06:33The fact that you can get images,
0:06:33 > 0:06:36images are so accessible on the internet and there are
0:06:36 > 0:06:39so many of them and you can pretty much take what you want.
0:06:39 > 0:06:42- So it's about copyright? - Definitely.- In a way.
0:06:42 > 0:06:46That you, you know now it's very hard as an artist working,
0:06:46 > 0:06:49you can't copyright your image, once it's online anyone can drag it
0:06:49 > 0:06:53to their desktop and then use it for their own purposes.
0:06:53 > 0:06:54Right.
0:06:54 > 0:06:57Charlotte and Roy seem intrigued by the issues of copyright
0:06:57 > 0:06:59Broose has raised.
0:06:59 > 0:07:02But the Mona Lisa's legendary smile doesn't seem to be
0:07:02 > 0:07:04rubbing off on David.
0:07:04 > 0:07:07The question is could Broose sell it and make some cash?
0:07:08 > 0:07:11Who would buy it, and why?
0:07:11 > 0:07:15I don't, I don't know. That's why I'm, you know...
0:07:15 > 0:07:17Have you sold other artworks?
0:07:17 > 0:07:19Mainly paintings.
0:07:19 > 0:07:22So you are a painter by, by trade?
0:07:22 > 0:07:24Yes.
0:07:24 > 0:07:27And what do your paintings sell for?
0:07:27 > 0:07:30I generally barter them. So I...to get a flight...
0:07:30 > 0:07:32Do you swap them for lemons and chickens, or something?
0:07:32 > 0:07:36Well, to get a flight over here to England I traded a painting.
0:07:36 > 0:07:40To... I'm also a singer-songwriter,
0:07:40 > 0:07:44and to get some studio time I traded a painting.
0:07:44 > 0:07:47So, while he may not be a selling artist,
0:07:47 > 0:07:50Broose's work certainly has a value.
0:07:50 > 0:07:52I wonder if David will be up for swapping
0:07:52 > 0:07:55a place at the exhibition for a page of the Mona Lisa?
0:07:59 > 0:08:01I'm a simple country boy. I need something to look at.
0:08:01 > 0:08:04I don't need somebody trying to be clever.
0:08:04 > 0:08:07- I mean, it's blindingly obvious to anybody with a...- What's obvious?
0:08:07 > 0:08:10- ..with a brain larger than a peanut. - What is obvious?
0:08:10 > 0:08:13That there are copyright issues with the internet.
0:08:13 > 0:08:16We read about them every day in the newspaper.
0:08:16 > 0:08:18Why do we need somebody to make such an obvious point?
0:08:18 > 0:08:22I don't think that you feel that anything can be more than an idea.
0:08:24 > 0:08:28But for you to close off to that is just insulting.
0:08:28 > 0:08:31No. I think you're harming the contemporary art world.
0:08:31 > 0:08:33Because unfortunately a lot of people...
0:08:33 > 0:08:35No, I think YOU are.
0:08:35 > 0:08:39I think it's people like you who get contemporary art a bad name.
0:08:39 > 0:08:41Now he's being facetious.
0:08:41 > 0:08:44Well, I am in a sense as well.
0:08:44 > 0:08:47Broose, we have to judge by three criteria. One is originality.
0:08:47 > 0:08:50Well, to me this all about originality.
0:08:50 > 0:08:54It's very relevant to the world we live in today.
0:08:54 > 0:08:59And I do feel artists can and should respond to the time they live in.
0:08:59 > 0:09:02I think the ideas behind this are interesting.
0:09:02 > 0:09:07I just think what's letting it down for me is how it's presented,
0:09:07 > 0:09:10because it's difficult to get perhaps the sense what
0:09:10 > 0:09:13I can see in this from the work itself.
0:09:13 > 0:09:17Is it me, or is it just getting a little bit tense in there?
0:09:18 > 0:09:20Broose may have locked horns with David,
0:09:20 > 0:09:23but a yes from Charlotte and Roy would see him
0:09:23 > 0:09:26through to the exhibition and a chance to buy that motorbike.
0:09:28 > 0:09:30David?
0:09:30 > 0:09:35I think the shredder is too good for this. No.
0:09:36 > 0:09:38Charlotte?
0:09:38 > 0:09:43It's an interesting idea, but not clear enough for this exhibition.
0:09:43 > 0:09:44- It's a no.- OK.
0:09:44 > 0:09:46Broose it's a no from me as well, I'm afraid.
0:09:46 > 0:09:49Yeah, thank you for your feedback. It was very helpful.
0:09:49 > 0:09:50Thank you very much.
0:09:52 > 0:09:55So, with three noes, Broose won't be going to the exhibition,
0:09:55 > 0:09:58but he has sparked an interesting debate
0:09:58 > 0:10:02with the judges about art in the age of the internet.
0:10:02 > 0:10:05And on the plus side, he does own the Mona Lisa.
0:10:05 > 0:10:07Sort of.
0:10:07 > 0:10:08That was quite tough in there.
0:10:08 > 0:10:10As far as the feedback, I mean it's feedback
0:10:10 > 0:10:12and that's what I want.
0:10:12 > 0:10:14He didn't get your idea, your concept at all,
0:10:14 > 0:10:17you know "Too good for the shredder". That's pretty tough.
0:10:17 > 0:10:19Yeah, but I mean he made,
0:10:19 > 0:10:22he's making his statement before I even walk in that room.
0:10:22 > 0:10:26His opinions are based on an old-school perspective.
0:10:26 > 0:10:28So he's not going to get it.
0:10:28 > 0:10:29You know he just won't.
0:10:29 > 0:10:32Even you know I could explain it for another five days with him
0:10:32 > 0:10:34- and he would still say no. - That doesn't bother you?
0:10:34 > 0:10:35No, no.
0:10:35 > 0:10:38I mean, there will be people like that all the time.
0:10:39 > 0:10:41To get to the exhibition,
0:10:41 > 0:10:44artists from all over the country entered with everything
0:10:44 > 0:10:47from sculptures, photographs and drawings to paintings.
0:10:47 > 0:10:50Only the finest though made it through to the show in London.
0:10:54 > 0:10:5827-year-old Victoria Fan dropped out of her art degree
0:10:58 > 0:11:01after just six months and went to work for a bank.
0:11:01 > 0:11:04But the world of high finance isn't where her heart lies
0:11:04 > 0:11:07and her passion for art keeps pulling her back.
0:11:07 > 0:11:11If she gets through to the exhibition and sells her work,
0:11:11 > 0:11:14she wants to go to China, to explore her roots.
0:11:14 > 0:11:20But first she'll have to impress the three very tough judges.
0:11:20 > 0:11:23I'm going to say you're confused. Because you started an art degree.
0:11:23 > 0:11:25- I did.- And then gave it up. Why? - They took us to a gym.
0:11:25 > 0:11:28They gave us a roll of loo roll and they told us
0:11:28 > 0:11:32to map out our journey home on this gym floor.
0:11:32 > 0:11:36And at that point I thought, slightly airy fairy for my liking.
0:11:36 > 0:11:39You said, "This degree stuff is rubbish. I'm going to do something else."
0:11:39 > 0:11:41So what are you doing now?
0:11:41 > 0:11:43I work as a business development executive.
0:11:43 > 0:11:46But your parents must be proud. You're working, got a proper job.
0:11:46 > 0:11:50- Yes, I have a proper job. - Obviously you're still doing art.
0:11:50 > 0:11:54- Yes.- You're still, I suppose following your passion.- Yes.
0:11:54 > 0:11:56So do you want it to be a profession then?
0:11:56 > 0:11:58Is that why you've come to us at Show Me The Monet, someone say,
0:11:58 > 0:12:01"Do you know what, you're really good?"
0:12:01 > 0:12:07I would like, in the future, to do portraits and commissions full time.
0:12:07 > 0:12:11- Well, I just get a sense that if you get two yeses today...- Yeah.
0:12:11 > 0:12:14- It might be the recognition and the shove in the right direction.- Yeah.
0:12:14 > 0:12:17- Well, I certainly hope you get it.- Thank you so much.
0:12:17 > 0:12:18Really lovely to meet you
0:12:18 > 0:12:22- and they're waiting for you through those doors.- Thank you.
0:12:25 > 0:12:27Victoria has gone down the safe route.
0:12:27 > 0:12:30A sensible job with a regular salary.
0:12:30 > 0:12:32But it's not where her heart lies
0:12:32 > 0:12:36and she dreams of making a living from her art.
0:12:36 > 0:12:40And she's hoping the judges will tell her she's got what it takes.
0:12:40 > 0:12:43But will her pencil drawing of a Chelsea pensioner
0:12:43 > 0:12:46stand up to their scrutiny?
0:12:52 > 0:12:55Hello, Victoria. Welcome to the Hanging Committee.
0:12:55 > 0:12:58- Thank you.- Would you introduce your drawing to us please?
0:12:58 > 0:13:01This is the Chelsea Pensioner.
0:13:01 > 0:13:04It's basically inspired by my friends
0:13:04 > 0:13:06who are currently in the Forces
0:13:06 > 0:13:11and I also wanted to reflect my hope and wish that the men and women
0:13:11 > 0:13:19in the Forces currently would leave and lead long and full lives.
0:13:19 > 0:13:22Have you got any connection to the Services?
0:13:22 > 0:13:25A lot of my friends are in there currently.
0:13:25 > 0:13:27So you know just, there's just the constant worry.
0:13:27 > 0:13:30Could you tell us how much you charge for a drawing like this?
0:13:30 > 0:13:33£1,000 was my guide price.
0:13:33 > 0:13:37- Have you sold a lot of work? - I've sold a few bits and pieces.
0:13:37 > 0:13:39For that kind of sum?
0:13:39 > 0:13:43Not for that kind of sum, no. The most I've sold is 500.
0:13:43 > 0:13:46- You consider this one of your better works then, do you?- Yes.
0:13:46 > 0:13:49- That's great. Can we have a look, closer look?- Yes, of course.
0:13:49 > 0:13:51Victoria's doubled her asking price,
0:13:51 > 0:13:56and I just hope the judges think her drawing is worth that much.
0:13:57 > 0:14:01She'd like nothing better than to jack in the day job.
0:14:01 > 0:14:05But can she convince the Hanging Committee that she could make it
0:14:05 > 0:14:07as a professional artist?
0:14:09 > 0:14:11What do you do for a living?
0:14:11 > 0:14:13I work at HSBC Global Asset Management.
0:14:13 > 0:14:15Umm, a banker.
0:14:15 > 0:14:16Um, not quite.
0:14:16 > 0:14:19THEY LAUGH
0:14:19 > 0:14:21How big's your bonus, by the way?
0:14:21 > 0:14:23Ignore him.
0:14:23 > 0:14:27David, it's art, not bonuses that motivates Victoria.
0:14:27 > 0:14:29But for the chance to exhibit at The Mall Galleries,
0:14:29 > 0:14:32she'll have to get past these tough gatekeepers.
0:14:32 > 0:14:34Can we just get this right?
0:14:34 > 0:14:36Yes.
0:14:36 > 0:14:38Is this fellow a pensioner from Chelsea?
0:14:38 > 0:14:41Or is he actually a Chelsea Pensioner from the Royal Hospital?
0:14:41 > 0:14:44- He's a Chelsea Pensioner from the Royal Hospital.- OK.
0:14:44 > 0:14:49I'm somewhat surprised you haven't chosen to draw him in uniform.
0:14:49 > 0:14:53You're telling us what is driving you is that connection with
0:14:53 > 0:14:55the armed forces and,
0:14:55 > 0:14:58but what you chose was an image that does not give us that.
0:14:58 > 0:15:00I didn't want it to be a cliche.
0:15:00 > 0:15:03Because, you know, when you go to these barracks and things,
0:15:03 > 0:15:08a lot of what you see are ex-serving military personnel
0:15:08 > 0:15:11in their uniforms, all their regalia.
0:15:11 > 0:15:15But with this, it, it did show a bit of vulnerability in the man
0:15:15 > 0:15:19that used to you know fight wars and things
0:15:19 > 0:15:24and I thought that was quite a, that was very interesting story.
0:15:25 > 0:15:28So Victoria wanted to portray an old soldier.
0:15:28 > 0:15:34But will her decision not to draw him in his uniform be her downfall?
0:15:34 > 0:15:36Makes perfect sense, it's taking the man out of the Forces
0:15:36 > 0:15:40and out of uniform and back to our level, rather than the, the,
0:15:40 > 0:15:43the very grand status that anyone in the Forces should have.
0:15:43 > 0:15:46So, a bit of division amongst the judges over the emotional message.
0:15:46 > 0:15:51I wonder how they'll rate Victoria's technical ability.
0:15:51 > 0:15:54It's meticulous in technique.
0:15:54 > 0:15:58Don't you ever want to break out of the stranglehold of appearances?
0:15:58 > 0:16:00I do.
0:16:00 > 0:16:08And I've tried to become more free in how I work, but I can't do it.
0:16:08 > 0:16:10I'm a great perfectionist and I won't let anything go
0:16:10 > 0:16:13until I feel it's perfect and, a lot...
0:16:13 > 0:16:15- You can get a lot more perfection through freedom.- Yes.
0:16:15 > 0:16:19Because being meticulous can be, can be a great asset,
0:16:19 > 0:16:23but it can also go over the cliff and become laboured.
0:16:23 > 0:16:26And that's when it starts looking a little bit weak.
0:16:26 > 0:16:29This isn't what Victoria was hoping to hear.
0:16:29 > 0:16:32She left her degree because it was too airy fairy
0:16:32 > 0:16:34and didn't place enough emphasis on technique.
0:16:34 > 0:16:39Now she's being criticised for being too technically perfect.
0:16:39 > 0:16:43I think we're probably ready to cast a vote now.
0:16:43 > 0:16:46Roy?
0:16:46 > 0:16:49Victoria, you're an excellent draftswoman,
0:16:49 > 0:16:53but if anything you need to spend more time on your art as a whole.
0:16:53 > 0:16:58So I'm afraid Victoria, for this work I'm going to have to say no.
0:16:58 > 0:17:01Victoria, I can see how upset you are.
0:17:01 > 0:17:06I can see how much therefore art means to you, so don't give up.
0:17:06 > 0:17:11But do use this opportunity to go away and get even better.
0:17:11 > 0:17:14I'm afraid it's a no from me.
0:17:14 > 0:17:15OK, thank you.
0:17:16 > 0:17:18It's also a no from me, Victoria.
0:17:18 > 0:17:24But I agree with Charlotte, I think you have the most perfect
0:17:24 > 0:17:28foundation on which to build and experiment.
0:17:28 > 0:17:31- OK, thank you.- Thank you.
0:17:31 > 0:17:33It's a bitter pill for Victoria to swallow.
0:17:33 > 0:17:36She really wanted the judges' approval, so she could wave goodbye
0:17:36 > 0:17:40to banking and concentrate on her art full time.
0:17:40 > 0:17:43But ultimately, her drawing just didn't meet
0:17:43 > 0:17:45the judges' high standards.
0:17:45 > 0:17:47That was hard.
0:17:48 > 0:17:50- Hiya.- Hi, there.
0:17:50 > 0:17:54- Are you all right?- Yeah, I'm well. - Are you sure?- Yeah.
0:17:54 > 0:17:56At one stage I thought you were going to cry.
0:17:56 > 0:17:59Are you upset, or are you just in shock?
0:17:59 > 0:18:02- How are you feeling? - Um, I'm a bit sad. I am a bit sad.
0:18:02 > 0:18:06But um, it will just push me to, you know,
0:18:06 > 0:18:09challenge myself in ways that I haven't before.
0:18:09 > 0:18:11Because they want you to go "Wey-hey!"
0:18:11 > 0:18:12I know.
0:18:12 > 0:18:15Express yourself. But is it in your nature?
0:18:15 > 0:18:18I don't think it is.
0:18:18 > 0:18:20Really?
0:18:20 > 0:18:24I've literally just had this, you know, habit of doing something
0:18:24 > 0:18:28so laboured and time consuming.
0:18:28 > 0:18:32I don't know. I just need to get out of that habit, I guess.
0:18:32 > 0:18:36- It's been a real pleasure meeting you. Good luck.- Thank you very much.
0:18:38 > 0:18:40Artists from all over the country
0:18:40 > 0:18:43brought their masterpieces to show the judges.
0:18:43 > 0:18:46Making it through to the exhibition and selling their work,
0:18:46 > 0:18:48would be a dream come true.
0:18:48 > 0:18:51But only the selected few were good enough.
0:18:51 > 0:18:54Professional artist Fiona Winning's abstract beach painting,
0:18:54 > 0:19:00called Tide Turns, elicited a wave of approval from the judges.
0:19:01 > 0:19:06It's lovely to see an artist painting the coast, the sea,
0:19:06 > 0:19:08without seagulls, beach huts.
0:19:08 > 0:19:10- Yes.- Yes.
0:19:10 > 0:19:13Three yeses, Fiona. You are sailing through to our exhibition.
0:19:13 > 0:19:14Thank you.
0:19:14 > 0:19:20With such support, Fiona was hopeful her painting would find a buyer.
0:19:20 > 0:19:21So did she receive any bids?
0:19:21 > 0:19:24Well, Fiona, you wanted £1,400 for this.
0:19:24 > 0:19:25Yeah.
0:19:25 > 0:19:28- But we didn't get any offers.- OK.
0:19:28 > 0:19:31Some people a little bit shy of anything that's abstract,
0:19:31 > 0:19:32or semi abstract.
0:19:32 > 0:19:34Well, I'm sad you didn't get an offer,
0:19:34 > 0:19:36but that was just the icing on the cake.
0:19:36 > 0:19:39To be at our exhibition and to see you in your element has been,
0:19:39 > 0:19:41reward enough for us, I hope it is enough for you.
0:19:41 > 0:19:44- It is.- All right. Well, lovely to meet you.- Thank you.
0:19:44 > 0:19:46Give her a round of applause. Bad luck.
0:19:46 > 0:19:48CROWD APPLAUD
0:19:48 > 0:19:51Next up was retired bank manager, Barry Harrison,
0:19:51 > 0:19:56with his pencil drawing of a fantasy woodland scene.
0:19:56 > 0:19:58I like to keep a simple toolkit.
0:19:58 > 0:20:00The picture was a couple of pencils, a putty rubber
0:20:00 > 0:20:01and some bits of tissue paper.
0:20:01 > 0:20:04Although she admired his drawing skills,
0:20:04 > 0:20:06some of the magic was lost on Charlotte.
0:20:06 > 0:20:09The coat at the back looks paler than the coat at the front,
0:20:09 > 0:20:10but it looks like a different coat.
0:20:10 > 0:20:13It just confuses the reading of the work.
0:20:13 > 0:20:17I don't give a monkey's what the difference between the coat
0:20:17 > 0:20:19going in and the coat coming out.
0:20:19 > 0:20:21So it changed, so what?
0:20:21 > 0:20:23And then that old chestnut reared its head.
0:20:23 > 0:20:25Does illustration have a place at a fine art exhibition?
0:20:25 > 0:20:27William Blake's an illustrator
0:20:27 > 0:20:31and he has a room to himself in the Tate Gallery. Yes.
0:20:31 > 0:20:36But unfortunately for Barry, David's support wasn't enough
0:20:36 > 0:20:37to put him through.
0:20:39 > 0:20:43Cookery teacher Mary Davis brought her still life picture.
0:20:43 > 0:20:46And the initial feedback seemed promising.
0:20:46 > 0:20:49I like to see a still life that has no meaning other than
0:20:49 > 0:20:52an arrangement of forms. You're doing good work.
0:20:52 > 0:20:55That gleam of a ripe cherry is beautiful and you've used them
0:20:55 > 0:20:57as kind of counterpoints to the gleam of pewter.
0:20:57 > 0:21:00But the cherries weren't a fruitful addition for David.
0:21:00 > 0:21:03Mary, I think this is a bit sterile for me.
0:21:03 > 0:21:06I can't understand what function those cherries serve.
0:21:06 > 0:21:09They don't serve any compositional function.
0:21:09 > 0:21:11I like having something organic in my images,
0:21:11 > 0:21:15whether it's fruit, or flowers, or twigs.
0:21:15 > 0:21:17Hmm, organic or not,
0:21:17 > 0:21:21Mary's cherries didn't help her to a spot at the exhibition.
0:21:22 > 0:21:26Art student Hannah Wilmshurst's photograph, Night Bus,
0:21:26 > 0:21:29divided Charlotte and David.
0:21:29 > 0:21:32The composition is very well thought out.
0:21:32 > 0:21:34You're looking in, like looking into a stage set.
0:21:34 > 0:21:38She couldn't have known she was going to get that composition.
0:21:38 > 0:21:39I didn't put the it on automatic.
0:21:39 > 0:21:41It's something I actually composed myself.
0:21:41 > 0:21:45Roy liked the emotion in Hannah's work.
0:21:45 > 0:21:46I like the people in it.
0:21:46 > 0:21:49For me, it's sort of an entrance into a moment in time
0:21:49 > 0:21:52of people's lives that I'm interested in. Hannah, it is a yes.
0:21:52 > 0:21:54But Roy's was a lone vote.
0:21:54 > 0:21:57Hannah and her Night Bus didn't make a stop at The Mall.
0:21:59 > 0:22:02Next up in front of the Hanging Committee
0:22:02 > 0:22:05was National League hockey player Oliver Jones.
0:22:05 > 0:22:08He's made his name on the hockey pitch
0:22:08 > 0:22:11and now his next goal is to become a successful artist.
0:22:11 > 0:22:15With a first class degree from art school in Birmingham,
0:22:15 > 0:22:1826-year-old Oliver has made a good start.
0:22:18 > 0:22:21- Welcome, Oliver. Nice to meet you.- Nice to meet you too.
0:22:21 > 0:22:24I suppose as a sportsman you're quite used to quite loud,
0:22:24 > 0:22:26vociferous criticism if you get things wrong?
0:22:26 > 0:22:28It's going to get like that, is it?
0:22:28 > 0:22:31Someone shouting, "You're useless, get off."
0:22:31 > 0:22:34No, well, you know, um, it's, it's always very nice, people going,
0:22:34 > 0:22:38"Oh, yeah, nice picture", but you know to use something a little bit
0:22:38 > 0:22:41more critical is, is, yeah, that's much more useful.
0:22:41 > 0:22:45Well, we've got quite a prestigious exhibition and you could sell there.
0:22:45 > 0:22:49- What would do with the money? - Well, we've just got a new Labrador pub,
0:22:49 > 0:22:52who seems to be taking up quite a bit of my money at the minute, so.
0:22:52 > 0:22:53Oh, really, eating, chewing?
0:22:53 > 0:22:56Eating and chewing, yeah, that's quite good.
0:22:56 > 0:23:02- So er, you know, perhaps a gum shield for him.- A gum shield. What's his name?- Reuben.- Reuben. OK.
0:23:02 > 0:23:04So for a gum shield for the dog Reuben, good luck.
0:23:04 > 0:23:07- Super.- Through that door. The judges await.- Thank you.
0:23:11 > 0:23:12Well, truth to tell,
0:23:12 > 0:23:15Oliver's got bigger plans than just spending on the dog.
0:23:15 > 0:23:18He dreams of going on a road trip around America,
0:23:18 > 0:23:22but needs some cash to fund his holiday.
0:23:22 > 0:23:26If he sells this chalk pastel drawing,
0:23:26 > 0:23:32it could be his ticket to ride all the way to the States.
0:23:32 > 0:23:36But is it what the judges are looking for?
0:23:39 > 0:23:43Oliver, hello. Tell us about it.
0:23:43 > 0:23:46This is a drawing of mine, called Shrink Wrapped Flesh,
0:23:46 > 0:23:50and it's from a series that looks to...um...
0:23:50 > 0:23:56it's sort of a retort on how the media and industry advertises flesh.
0:23:56 > 0:24:00It's an attempt to try and readvertise it as a sort of
0:24:00 > 0:24:05a more everyday notion of what we respond and interact with each day,
0:24:05 > 0:24:09rather than the sort of idealised presentation that we have.
0:24:09 > 0:24:14It's kind of flesh that hasn't got the trimmings, basically.
0:24:14 > 0:24:17You know, it's not er, it's not vamped up in any way.
0:24:17 > 0:24:21- How much would you charge for this? - About £2,500
0:24:21 > 0:24:23OK, we'll take a look.
0:24:23 > 0:24:24Do, please.
0:24:26 > 0:24:30So, Oliver wants to strip the glamour away
0:24:30 > 0:24:32from how flesh is advertised.
0:24:32 > 0:24:37But will his stark look at a chicken make it on to the judges' menu?
0:24:43 > 0:24:47Oliver, I see this drawing as pornographic.
0:24:47 > 0:24:49It has been said.
0:24:49 > 0:24:51It's obscene in so many ways.
0:24:51 > 0:24:57The full frontal fleshiness of this wrapped up product is so immediate.
0:24:57 > 0:24:59How do you intend people to view this?
0:24:59 > 0:25:02How do you expect them to view it? Is there a political statement in there?
0:25:02 > 0:25:04No, not, not so much.
0:25:04 > 0:25:07It's not really a comment on you know the consumerism
0:25:07 > 0:25:09or anything like that.
0:25:09 > 0:25:14I mean it's about the flesh and how you know its structure.
0:25:14 > 0:25:18So it's got nothing to do with over packaging, factory farming,
0:25:18 > 0:25:25the unappealing colour of mass produced meat or anything like that?
0:25:25 > 0:25:30Well, yeah, in that, in that respect, I suppose it kind of does,
0:25:30 > 0:25:33because, you know, that is the way that industry and the media
0:25:33 > 0:25:37sort of flaunt us this image of, of flesh.
0:25:37 > 0:25:38You know, it becomes a product.
0:25:38 > 0:25:43Well, I think without any associations with dead birds,
0:25:43 > 0:25:46packaging, it stands alone brilliantly
0:25:46 > 0:25:48as an incredibly beautiful image.
0:25:48 > 0:25:50It makes you feel queasy.
0:25:50 > 0:25:52I find it a really disturbing image.
0:25:52 > 0:25:56You know, I read the, the chicken as human flesh.
0:25:56 > 0:25:59The kind of bondage-like elastic round the legs,
0:25:59 > 0:26:02the shrink wrapping over the top.
0:26:02 > 0:26:05Hmm, the judges seem to be positively clucking over this picture.
0:26:05 > 0:26:08Will Oliver's chicken come home to roost?
0:26:08 > 0:26:10Could I play devil's advocate?
0:26:10 > 0:26:13I am imagining we're all standing in the exhibition
0:26:13 > 0:26:16and we have selected this and people are going to come in and look
0:26:16 > 0:26:22at it and go, "It's a chicken in shrink wrap, I see that every day."
0:26:22 > 0:26:27Are we convinced there's enough to this to stand next to it
0:26:27 > 0:26:29and for everyone to get Oliver's message?
0:26:29 > 0:26:31You might say that about any portrait.
0:26:31 > 0:26:34"Oh, it's another person, I see those on the street."
0:26:34 > 0:26:36This is why I'm saying I'm playing devil's advocate.
0:26:36 > 0:26:39Because we are being judged by the work
0:26:39 > 0:26:42we select for this exhibition in a way.
0:26:42 > 0:26:45Well, never try and second guess the opinions of the public.
0:26:45 > 0:26:48Well, I can't second guess how David may vote.
0:26:48 > 0:26:51But Roy has found beauty in Oliver's chicken
0:26:51 > 0:26:55and Charlotte's been nauseated and disturbed by it.
0:26:55 > 0:26:58So, will Oliver make it through? It's time for the vote.
0:26:58 > 0:27:00Charlotte?
0:27:04 > 0:27:06Yes.
0:27:12 > 0:27:14Yes.
0:27:14 > 0:27:16That's a yes from me too. Thanks, can't wait to see that again.
0:27:16 > 0:27:18Yeah.
0:27:18 > 0:27:19That's great.
0:27:19 > 0:27:22Oliver and his chicken are on their way to The Mall Galleries.
0:27:22 > 0:27:24If he makes a sale,
0:27:24 > 0:27:27his dream of going to America will be one step closer.
0:27:36 > 0:27:39The Mall Galleries, London.
0:27:39 > 0:27:42And Oliver's chicken was certainly the dish of the day
0:27:42 > 0:27:44in a glittering menu.
0:27:44 > 0:27:46He got the chance to mingle with members of the public,
0:27:46 > 0:27:49buyers and gallery owners.
0:27:49 > 0:27:51It's exciting really to suddenly get to
0:27:51 > 0:27:54the culmination of the whole show really.
0:27:54 > 0:27:56I feel strangely nervous, even though I've done the hard bit.
0:27:56 > 0:28:00You know, it's, I don't know, it's a strange sort of feeling.
0:28:00 > 0:28:03After his triumph at the Hanging Committee,
0:28:03 > 0:28:06Oliver upped his price by £500 to £3,000,
0:28:06 > 0:28:1010% of which he'd have to pay to an independent agent as a commission
0:28:10 > 0:28:12if he sells.
0:28:14 > 0:28:17The public could make sealed bids for his work,
0:28:17 > 0:28:20which were kept secret even from me, until it was time to reveal
0:28:20 > 0:28:23to Oliver and his family whether any offers were made on his painting.
0:28:23 > 0:28:26- Oliver, great to see you. - Hi, how's it going?
0:28:26 > 0:28:29- And your chicken.- And my chicken. Yeah, he's here.
0:28:29 > 0:28:32In The Mall Galleries. How was it for you last night?
0:28:32 > 0:28:35Good, good. It was busy. Yeah, got to do a bit of schmoozing.
0:28:35 > 0:28:36Are you good at that?
0:28:36 > 0:28:39Not particularly. It's just a job that has to be done really.
0:28:39 > 0:28:41You find that uncomfortable, trying to say,
0:28:41 > 0:28:44"Buy my work. I'm great." I can see your mum nodding away.
0:28:44 > 0:28:46- That's, this is Mum behind you? - Yes, this is, this is Mum.
0:28:46 > 0:28:49Now, I did hear you say, Mum, a little bit earlier,
0:28:49 > 0:28:51you paid for all of this, you're the patron of this.
0:28:51 > 0:28:53- Patron of British arts I think.- Right, I see.
0:28:53 > 0:28:56Yeah, she says that, but her cupboards were always empty.
0:28:56 > 0:28:59Oh, I bet that's not true. So we could do with getting a bit of cash
0:28:59 > 0:29:01back into the household, couldn't we?
0:29:01 > 0:29:04I think he deserves to be recognised.
0:29:04 > 0:29:06Yeah. Let's see if all the schmoozing did any good.
0:29:06 > 0:29:08How much did you want?
0:29:08 > 0:29:10It was three it was down for.
0:29:10 > 0:29:13£3,000. Let's find out. Moment of truth.
0:29:15 > 0:29:17OK.
0:29:19 > 0:29:21You didn't get any offers.
0:29:21 > 0:29:23- Oh, really? - We can't believe that, can we?
0:29:23 > 0:29:24ALL: No.
0:29:24 > 0:29:27- I'm really sorry about that. - Yeah. It's a funny old time
0:29:27 > 0:29:30and I thought there was a lot of vegetarians around.
0:29:30 > 0:29:33A lot of vegetarians around, yeah, I know.
0:29:33 > 0:29:37Well, it's good to see that Oliver still has a sense of humour.
0:29:37 > 0:29:39Now he didn't get any offers on the night.
0:29:39 > 0:29:42But the great news is that Oliver has been asked to show his work
0:29:42 > 0:29:45at another London exhibition and auction.
0:29:55 > 0:30:00Pauline Gill, from West Yorkshire, is 58 and a latecomer to art.
0:30:00 > 0:30:05She loved art at school, but let at 16 and became a psychiatric nurse.
0:30:05 > 0:30:10It took her 35 years to build up the confidence to go to art school.
0:30:11 > 0:30:13May I say, you look spectacular.
0:30:13 > 0:30:15Oh, thank you.
0:30:15 > 0:30:17You're oozing creativity. Have you always been like this?
0:30:17 > 0:30:20Have you always had a creative imagination?
0:30:20 > 0:30:23I didn't go into university till in my early 50s, which was a bit
0:30:23 > 0:30:27scary because I never even passed my 11-plus at school.
0:30:27 > 0:30:30So if you did manage to get to the exhibition, right?
0:30:30 > 0:30:31What would it mean to you then?
0:30:31 > 0:30:34It would be like the icing on the cake really.
0:30:34 > 0:30:38But getting this far is brilliant and I'm just so pleased
0:30:38 > 0:30:41to think that someone likes my work.
0:30:41 > 0:30:43That's meant a lot. That's given me confidence.
0:30:43 > 0:30:47OK. If you did get to the exhibition and sell.
0:30:47 > 0:30:48Yeah.
0:30:48 > 0:30:50What would you spend it on?
0:30:50 > 0:30:54Um, I think, well, I love travel, adventures.
0:30:54 > 0:30:57So it would go towards travel and adventures.
0:30:57 > 0:30:59And it would be nice to have my own studio,
0:30:59 > 0:31:02- but I don't think that would cover it.- No, OK.
0:31:02 > 0:31:04Well, I am so excited about you going in there.
0:31:04 > 0:31:08I'm really looking forward to it. Give as good as you get, right?
0:31:08 > 0:31:09I'll try.
0:31:09 > 0:31:11- All right. Good luck. - Thank you very much.
0:31:11 > 0:31:13- They're just through that door. - OK, thanks.
0:31:17 > 0:31:19Pauline got her degree in fine art.
0:31:19 > 0:31:23But she's still working as a carer, looking after people in their homes.
0:31:23 > 0:31:27She longs to be a full time artist and she's hoping the judges
0:31:27 > 0:31:30will spot that she has the talent to make it.
0:31:30 > 0:31:32Hi.
0:31:32 > 0:31:36If the judges take to her sculpture,
0:31:36 > 0:31:40it could be the start of a thriving new career for her.
0:31:41 > 0:31:46Pauline, would you please introduce your large bird?
0:31:46 > 0:31:50This is my sculpture of a peacock, made from twigs
0:31:50 > 0:31:52and natural materials.
0:31:52 > 0:31:54I've always loved birds.
0:31:54 > 0:31:58I've always loved trees and I've always loved foraging,
0:31:58 > 0:32:01finding things and doing kind of what the birds are doing
0:32:01 > 0:32:06at the moment, gathering things and sculpting their nest.
0:32:06 > 0:32:09This is my nest, if you like.
0:32:09 > 0:32:11How much do you charge for your birds?
0:32:11 > 0:32:16This one's taken a long while to do, so I have put it rather high at 750.
0:32:16 > 0:32:19- We'll come and have a look at it then.- Yeah, of course, yeah.
0:32:21 > 0:32:25Pauline's poured all her passion for nature into her work.
0:32:25 > 0:32:27But she's set a high price for it.
0:32:27 > 0:32:31Will these experienced art critics think it's worth that?
0:32:33 > 0:32:36They will scrutinize every inch of her work
0:32:36 > 0:32:40before they pass judgment, and they can be hard taskmasters.
0:32:47 > 0:32:51Pauline, this could be taken as to be quite beautiful to some people,
0:32:51 > 0:32:56but others might think it's a scatty, skeletal version of a bird.
0:32:56 > 0:32:58What would you say to that?
0:32:58 > 0:33:00In essence, it's a pile of twigs.
0:33:00 > 0:33:02It is what it is.
0:33:02 > 0:33:04But some people like them, some people don't.
0:33:04 > 0:33:05And, and that's fine.
0:33:05 > 0:33:08But, um, this is just my art.
0:33:10 > 0:33:13Now there's a straight talking Yorkshire lass for you.
0:33:13 > 0:33:15Do they last long?
0:33:15 > 0:33:19It can vary. The decay process is also part of it.
0:33:19 > 0:33:22Not if you've invested £750 in it.
0:33:22 > 0:33:26No, no, in that case it would have to be inside.
0:33:26 > 0:33:30Possibly contained in a large glass,
0:33:30 > 0:33:34or just, just out of the way.
0:33:34 > 0:33:37About ten years ago bought something not unlike this
0:33:37 > 0:33:41for a balcony in a flat in London and it cost me £85.
0:33:41 > 0:33:45But I left it there when I moved out, because it was sort of half rotted
0:33:45 > 0:33:49and got very mossy. I think it is very difficult asking
0:33:49 > 0:33:51a significant amount of money for something
0:33:51 > 0:33:54that will collapse in on itself given time.
0:33:54 > 0:33:55Certainly be true outside.
0:33:55 > 0:33:59Inside, they last surprisingly longer than you think, actually.
0:33:59 > 0:34:03So, now we know Roy's partial to bird sculptures.
0:34:03 > 0:34:07But what about Charlotte and David?
0:34:08 > 0:34:14The way it's made, to communicate a feathery, soft, dramatic blue bird.
0:34:14 > 0:34:17This is like a decayed corpse of a bird.
0:34:17 > 0:34:20It's still recognizable as a peacock, isn't it? It's quite clever.
0:34:20 > 0:34:22It's the essence of peacock. But it's not...
0:34:22 > 0:34:25Take things and stick them together and make the essence of a peacock.
0:34:25 > 0:34:29It is, but it's a swan neck. It's goose legs. The tail is up as wings.
0:34:29 > 0:34:31I mean, it's, it's very structurally wrong.
0:34:31 > 0:34:35It's not meant to be an exact representation of a peacock.
0:34:35 > 0:34:38Ah, so a little artistic licence works for David.
0:34:38 > 0:34:41But Charlotte's after something more accurate.
0:34:41 > 0:34:46My stumbling block is, to me it looks like some extreme floristry.
0:34:46 > 0:34:49I mean, I think there would be a market for this,
0:34:49 > 0:34:54as a piece of decorative kind of wow factor in a kind of themed event.
0:34:54 > 0:34:57Well, I don't think this bird is going to nest
0:34:57 > 0:34:59in Charlotte's house any day soon.
0:34:59 > 0:35:01But will David and Roy give Pauline a chance?
0:35:03 > 0:35:06Pauline, not, not for me I'm afraid.
0:35:06 > 0:35:07Charlotte?
0:35:07 > 0:35:10No.
0:35:10 > 0:35:12- Not for me either.- Yeah, OK.
0:35:12 > 0:35:15- But thank you very much. - Thank you for your comments as well.
0:35:15 > 0:35:16Thank you.
0:35:21 > 0:35:25It took them out of their sort of comfort zone really.
0:35:25 > 0:35:29- Yeah, yeah.- Because they're used to paintings, photography,
0:35:29 > 0:35:34- but suddenly, oh, a peacock. - I should have done a painting. It's a lot easier to carry.
0:35:34 > 0:35:36But, you know, I just do what I do
0:35:36 > 0:35:39and people like it or they don't like it.
0:35:39 > 0:35:42It's been a good experience and it could still give me
0:35:42 > 0:35:46the bit of confidence to get on and do some more work.
0:35:52 > 0:35:56Our last contender is 40-year-old Paul Regan.
0:35:56 > 0:35:59As the director of an art school in London,
0:35:59 > 0:36:02Paul is usually the one doling out criticism,
0:36:02 > 0:36:05but it's his head on the block today.
0:36:05 > 0:36:08So what are your ambitions? Would you like to be a full time artist,
0:36:08 > 0:36:10or are you really happy where you are?
0:36:10 > 0:36:11You know, if I got 20 years on
0:36:11 > 0:36:14and I hadn't given a good go at being a full time artist,
0:36:14 > 0:36:16then I think I'd be a bit disappointed.
0:36:16 > 0:36:18It's a big risk for someone like you,
0:36:18 > 0:36:20who's very happy with what they're doing,
0:36:20 > 0:36:23and suddenly you're going to immerse yourself
0:36:23 > 0:36:26- in what can be quite a tense experience.- Thanks for reminding me.
0:36:26 > 0:36:30- I need to make sure you're ready for this.- Well, it's a bit late for running out the door now.
0:36:30 > 0:36:32But if you see me screaming then, then just console me.
0:36:32 > 0:36:35If you got to the exhibition and sold, what would you spend the money on?
0:36:35 > 0:36:39I like to buy art, but I don't feel with a young family
0:36:39 > 0:36:43and running a business it's a really affordable thing to do.
0:36:43 > 0:36:44So I do have a rule with myself,
0:36:44 > 0:36:47if I sell paintings then I usually then buy art with those paintings.
0:36:47 > 0:36:49And that's quite, that's quite a nice treat.
0:36:49 > 0:36:52Brilliant. The judges are waiting through those doors.
0:36:52 > 0:36:55Good luck and away you go through that door.
0:37:00 > 0:37:03Now, I'm sure Paul's art students will want to know
0:37:03 > 0:37:06what the judges think of the oil on canvas painting he submitted,
0:37:06 > 0:37:09called Park Road Two.
0:37:14 > 0:37:16- Hello, Paul.- Hello.
0:37:16 > 0:37:18Please tell us about your painting.
0:37:18 > 0:37:21This painting is part of a series of suburban night scenes.
0:37:21 > 0:37:24This particular scene is of a local library.
0:37:24 > 0:37:28They always seem to have a light on, which I felt that created this
0:37:28 > 0:37:31sort of cinematic sense of suspense and mystery.
0:37:31 > 0:37:34And could you tell us how much you value this work at?
0:37:34 > 0:37:37- I value this painting at £800. - Let's take a closer look.
0:37:39 > 0:37:43Will the judges get the moody feeling Paul's after.
0:37:43 > 0:37:47He's been ploughing all his money into the art school he founded.
0:37:47 > 0:37:50So, if he sells, buying some art for himself would be a welcome treat.
0:38:00 > 0:38:03That picture looks like an oil sketch.
0:38:03 > 0:38:07Do you do larger paintings than that, which are more finished?
0:38:07 > 0:38:12Um, with regards to my lifestyle, with other commitments,
0:38:12 > 0:38:18I had to make a decision to work in a smaller way for a few years.
0:38:18 > 0:38:21I'm quite happy for it to be an oil sketch and to present it as
0:38:21 > 0:38:24a completed painting in this, this state.
0:38:24 > 0:38:27Maybe if we think about Constable's oils, oil sketches,
0:38:27 > 0:38:31they are much more elevated in the way that people appreciate them.
0:38:31 > 0:38:34When you're working in that kind of dark, this is,
0:38:34 > 0:38:39this is the suburbs at night style, we need detail.
0:38:39 > 0:38:42And there simply isn't enough detail it seems to me in the paint.
0:38:42 > 0:38:44I actually thought it was badly painted, I didn't...
0:38:44 > 0:38:47The detail for me is um,
0:38:47 > 0:38:49is the small area in the centre of where the tree cuts through
0:38:49 > 0:38:53the window, and, and my intention was to draw people to that
0:38:53 > 0:38:57and to make people inquisitive about what's going on in that window.
0:38:57 > 0:39:01I'm drawn to that bit on the left. I love the way you've painted that.
0:39:01 > 0:39:03I think, I think you're wrong.
0:39:03 > 0:39:07It's too imprecise to give us any, any hint of what's afoot.
0:39:07 > 0:39:09But isn't this the point in a way?
0:39:09 > 0:39:12That it's more about an atmosphere, rather than a place.
0:39:12 > 0:39:15That actually the fact we can't make out where it is
0:39:15 > 0:39:18and what it is, gives it that sort of uneasy edge
0:39:18 > 0:39:21that we're not quite sure what we're looking at.
0:39:21 > 0:39:24Paul, for me, this has a warmth and an easiness.
0:39:24 > 0:39:27I love the sketchiness about it.
0:39:27 > 0:39:30It works as a very, very simple pleasant piece of work for me.
0:39:30 > 0:39:31Thank you. Thank you very much.
0:39:31 > 0:39:32David?
0:39:32 > 0:39:35Your technique is...
0:39:35 > 0:39:40Is not what it should be for this particular kind of statement.
0:39:40 > 0:39:41It's probably cruel,
0:39:41 > 0:39:45but I think Constable would be turning in his grave
0:39:45 > 0:39:47at the thought that that was influenced by his sketches,
0:39:47 > 0:39:49because his are beautifully precise.
0:39:49 > 0:39:53- OK. - So, Paul, it is crunch time.
0:39:53 > 0:39:56I'm going to go to David first for his vote.
0:39:56 > 0:39:58No.
0:40:00 > 0:40:01Roy?
0:40:01 > 0:40:08Paul, it's a painterly little sketch, with emotion. So, yes.
0:40:08 > 0:40:09Thank you. Thank you very much.
0:40:09 > 0:40:13Oh...decision time.
0:40:18 > 0:40:20It's a yes from me.
0:40:20 > 0:40:22- Thank you very much. - Thank you very much, Paul.
0:40:22 > 0:40:24Thank you.
0:40:24 > 0:40:26Paul's through to the exhibition.
0:40:26 > 0:40:29And he can hold his head up high in front of those students.
0:40:29 > 0:40:33And he may even be able to afford a bit of art for himself.
0:40:42 > 0:40:43The Mall Galleries, London,
0:40:43 > 0:40:47and Paul's atmospheric landscape proved to be quite a draw.
0:40:47 > 0:40:50It's the mystery that attracted me to it.
0:40:50 > 0:40:52I've no idea what it's about.
0:40:52 > 0:40:54I haven't even looked at the title yet.
0:40:54 > 0:40:56But it's the one that made me
0:40:56 > 0:40:58at least cross the room to have a look at it.
0:40:58 > 0:41:02And Paul got the chance to catch up with a familiar face.
0:41:02 > 0:41:04It's been nice chatting to the judges again.
0:41:04 > 0:41:07It's been nice seeing people who are interested in the painting
0:41:07 > 0:41:08and talking about the painting.
0:41:08 > 0:41:12So I feel it's a real celebration of um, of the journey we've been on.
0:41:14 > 0:41:15So the all-important question,
0:41:15 > 0:41:19would any of the crowd be prepared to part with cash
0:41:19 > 0:41:22and take Paul's moody landscape home?
0:41:25 > 0:41:27Just remind me, how much did you want for this,
0:41:27 > 0:41:29it was called The Little Painting, wasn't it?
0:41:29 > 0:41:33People started referring to it as The Little Painting. Which is nice.
0:41:33 > 0:41:35- Yeah. So how much did you want? - £800 is my guide price.
0:41:35 > 0:41:38And what were you going to do with the money?
0:41:38 > 0:41:41Um, I tend to, if I sell art, I like to buy, like to buy art.
0:41:41 > 0:41:43That's my treat.
0:41:43 > 0:41:45So if I sell it, I'll put the money aside
0:41:45 > 0:41:48and when something catches my eye, I'll probably buy it.
0:41:48 > 0:41:51The answer is in this envelope. Do you think you got any offers?
0:41:51 > 0:41:53I've no idea.
0:41:53 > 0:41:56I can tell you that you got two offers.
0:41:56 > 0:42:00- Well, that's really good news. - Two offers. OK.
0:42:00 > 0:42:03- I'm going to give you the lowest one first.- OK.
0:42:03 > 0:42:07- And that was for £500.- OK.
0:42:07 > 0:42:11- But I can see you...- No. - Not interested in that.- No.
0:42:11 > 0:42:17OK, we had another offer. The highest offer on the night.
0:42:18 > 0:42:24And that was for £900.
0:42:24 > 0:42:27Ah, well, that's fantastic, isn't it?
0:42:27 > 0:42:31- I'm so pleased for you. Big round of applause.- Thank you.
0:42:31 > 0:42:32CROWD APPLAUD
0:42:32 > 0:42:36Well, that was a brilliant result for Paul and his Little Painting.
0:42:36 > 0:42:40He accepted the higher offer of £900 which,
0:42:40 > 0:42:43less the 10% sales commission he'll pay to the agent,
0:42:43 > 0:42:46still made him more than his guide price.
0:42:48 > 0:42:50Well, that's it from us from The Mall Galleries,
0:42:50 > 0:42:53but join us next time on Show Me The Monet, where the judges
0:42:53 > 0:42:56will be meeting more artists in search for success.
0:43:08 > 0:43:12Subtitles by Red Bee Media Ltd