0:00:02 > 0:00:05Britain's top artists make big money. Their works can go for millions.
0:00:05 > 0:00:09Nine million, five. Ten million. Ten million, five. 11 million.
0:00:10 > 0:00:13Up and down the country, thousands of ordinary people are also
0:00:13 > 0:00:15trying to get a piece of the action.
0:00:15 > 0:00:18They're putting their necks on the block for the chance
0:00:18 > 0:00:20to sell at the hottest exhibition in town.
0:00:21 > 0:00:24I would like to sell my paintings for quite a lot of money.
0:00:24 > 0:00:27Getting to actually exhibit your work in London,
0:00:27 > 0:00:29what else could you want?
0:00:29 > 0:00:31These artists could stand to make some serious cash.
0:00:31 > 0:00:33It's £2,200.
0:00:33 > 0:00:34£5,000.
0:00:34 > 0:00:36It's got 7,500 on it.
0:00:37 > 0:00:39But first they need the seal of approval
0:00:39 > 0:00:42from three of the art world's toughest critics.
0:00:42 > 0:00:45I don't think you're going to like what I'm going to say.
0:00:45 > 0:00:49Their hopes are in the hands of the Hanging Committee.
0:00:49 > 0:00:51This is a phenomenal painting.
0:00:51 > 0:00:53The shredder is too good for this.
0:00:53 > 0:00:56It's time to Show Me The Monet.
0:01:00 > 0:01:02Hello, and welcome to Show Me The Monet.
0:01:02 > 0:01:05Over the past few months, creative people across the UK -
0:01:05 > 0:01:07both amateur and professional alike -
0:01:07 > 0:01:10have been vying for the chance to show and sell their work
0:01:10 > 0:01:14at our prestigious London exhibition at The Mall Galleries.
0:01:14 > 0:01:18But to earn their place, they had to face our Hanging Committee.
0:01:19 > 0:01:20Judge Roy Bolton has valued art
0:01:20 > 0:01:23for some of the world's most exclusive auction houses.
0:01:23 > 0:01:27Emotion in art is what really matters. Art needs soul to be alive.
0:01:27 > 0:01:30Outspoken David Lee has over 20 years' experience
0:01:30 > 0:01:33in the game and knows exactly what he wants.
0:01:33 > 0:01:38To some shallow people, technique is a dirty word. But not to me.
0:01:38 > 0:01:41And critic Charlotte Mullins has spent over 15 years
0:01:41 > 0:01:43writing about the modern art world.
0:01:43 > 0:01:46Originality is key for artists.
0:01:46 > 0:01:49They have the ability to open our eyes to new ideas
0:01:49 > 0:01:51and new possibilities.
0:01:51 > 0:01:55These experts were the gatekeepers to our exhibition
0:01:55 > 0:01:59and only the very best would be selected to show their work at The Mall Galleries.
0:02:01 > 0:02:02I'm going to say yes.
0:02:04 > 0:02:06Coming up on today's programme:
0:02:08 > 0:02:11Charlotte has a very tough decision to make.
0:02:11 > 0:02:15I really feel caught between two votes here.
0:02:15 > 0:02:17David doesn't pull any punches with one artist.
0:02:17 > 0:02:23Lorna, you described yourself accurately as an amateur painter.
0:02:23 > 0:02:25I need say no more.
0:02:25 > 0:02:28And the judges come face to face with their worst fears.
0:02:28 > 0:02:29Oh, my goodness.
0:02:29 > 0:02:32I think that wouldn't look out of place on a Doctor Who set.
0:02:32 > 0:02:34It's kind of frightening.
0:02:37 > 0:02:39Eltham Palace, South London.
0:02:39 > 0:02:43One of the grandest surviving medieval royal buildings in the country.
0:02:43 > 0:02:48This magnificent setting is steeped in over seven centuries of history.
0:02:48 > 0:02:51Today, it plays host to our Hanging Committee,
0:02:51 > 0:02:53and artists from all over the country
0:02:53 > 0:02:57are lining up in the hope they can impress our judges.
0:02:57 > 0:03:00One of the first to put her art in the firing line
0:03:00 > 0:03:04was 64-year-old retired teacher, Lorna Thomas from Somerset.
0:03:04 > 0:03:07As a girl, she dreamt of a career in art.
0:03:07 > 0:03:09But her hopes were dashed very early on.
0:03:11 > 0:03:14I was a very malleable child. I did what people told me.
0:03:14 > 0:03:18And my art teacher said art college, but the school had other plans
0:03:18 > 0:03:21and the school thought I should go down an academic path.
0:03:21 > 0:03:23And that's how I ended up teaching.
0:03:23 > 0:03:25I just sort of drifted along into it, yeah.
0:03:25 > 0:03:28Were you frustrated then, all your life saying,
0:03:28 > 0:03:29"I really wish I'd gone to art college"?
0:03:29 > 0:03:34I didn't feel that I could go and do what I wanted to do.
0:03:34 > 0:03:35You just did what you were told.
0:03:35 > 0:03:38Even when you were 18, believe it or not, you know.
0:03:38 > 0:03:41You followed the path that people thought was best for you.
0:03:41 > 0:03:43What would the exhibition mean to you?
0:03:43 > 0:03:46Well, it would be absolutely unbelievable.
0:03:46 > 0:03:48If you did get to the exhibition and you did sell,
0:03:48 > 0:03:50what would you spend your money on?
0:03:50 > 0:03:53I think maybe I might get, sort of, grand enough,
0:03:53 > 0:03:55or up myself enough to have a website made,
0:03:55 > 0:03:56or something like that.
0:03:56 > 0:03:58Look at you, going up in the art world.
0:03:58 > 0:04:00You just never know, do you?
0:04:00 > 0:04:02Well, I do know that it's lovely to meet you,
0:04:02 > 0:04:04- and I do wish you the very best of luck.- Thank you.
0:04:04 > 0:04:06Good luck, and the guys are just through that door.
0:04:06 > 0:04:08- Thank you. - Good luck.
0:04:12 > 0:04:14It's wonderful to see Lorna, in her retirement,
0:04:14 > 0:04:18finally following her childhood dream of being an artist.
0:04:19 > 0:04:23Her hopes rest on this oil painting, entitled Coastal Path.
0:04:27 > 0:04:30But will the judges think it's strong enough to put Lorna
0:04:30 > 0:04:34on the path to becoming a full-time artist after all these years?
0:04:35 > 0:04:36Hello.
0:04:41 > 0:04:42- Hello, Lorna. - Hello.
0:04:42 > 0:04:45Would you like to tell us something about your painting?
0:04:45 > 0:04:49Yeah. We'd been on holiday to the Dorset coast,
0:04:49 > 0:04:53and, one day, out we went, and it was this glorious day,
0:04:53 > 0:04:57and I looked, and I just felt, nothing's changed here.
0:04:57 > 0:05:01Nothing's changed for thousands and thousands and thousands of years.
0:05:02 > 0:05:05And I started to look more carefully
0:05:05 > 0:05:09and appreciated the fact that, actually, in that wonderful view,
0:05:09 > 0:05:14there is impact of humankind on the planet.
0:05:14 > 0:05:16So there are odd bits and pieces in there, like the sheep,
0:05:16 > 0:05:19the farming, the fence, the individual.
0:05:19 > 0:05:22But actually from a distance,
0:05:22 > 0:05:26just feel invigorated by that glorious feeling of freedom
0:05:26 > 0:05:29and height and space and light, and the smell of sea air.
0:05:29 > 0:05:32That's great, thank you. What price do you put on this?
0:05:32 > 0:05:34About 300, I thought.
0:05:34 > 0:05:36We'll come back to the pricing a bit later,
0:05:36 > 0:05:39but we'll have a closer look first.
0:05:41 > 0:05:45A really passionate explanation of a painting.
0:05:45 > 0:05:48Lorna's clearly invested her heart and soul into this work.
0:05:48 > 0:05:51I just hope the standard of her painting matches up.
0:05:53 > 0:05:56To make the exhibition would fulfil a lifetime dream for Lorna,
0:05:56 > 0:05:59so this must be nerve-wracking.
0:06:05 > 0:06:09Lorna, have you done much... Do you have much art training?
0:06:09 > 0:06:10I've done as much as I can.
0:06:10 > 0:06:14I'm really enjoying doing my art college now.
0:06:14 > 0:06:17I was saying to Chris, I wasn't permitted to do it from school.
0:06:17 > 0:06:21Because now I can pick and choose.
0:06:21 > 0:06:23But certainly, for six years,
0:06:23 > 0:06:25I've been going to different people consistently.
0:06:25 > 0:06:28What did you do before you started your new artistic career?
0:06:28 > 0:06:31- I was a teacher.- Ah. - I was in education.
0:06:31 > 0:06:34What sort of things were you teaching?
0:06:34 > 0:06:39I used to work with students with various difficulties of learning.
0:06:41 > 0:06:44The judges seem intrigued by Lorna's late start in the art world.
0:06:44 > 0:06:47But has she had enough time to develop as an artist?
0:06:49 > 0:06:52There's areas I really quite like. I like the way the sea meets the sky.
0:06:52 > 0:06:56I like the use of the yellow to give that kind of distant horizon
0:06:56 > 0:07:00and the purple in the sky really gives it that rich,
0:07:00 > 0:07:04rich colour you get from a kind of a sky in a way with no clouds.
0:07:04 > 0:07:07I disagree with you about the sky. It's rather flat, that sky.
0:07:07 > 0:07:10I like it for that reason.
0:07:10 > 0:07:11Really?
0:07:11 > 0:07:13But it's contrasted with the...
0:07:13 > 0:07:17This is a landscape and a sky is not flat. I also don't like the figure.
0:07:18 > 0:07:21I think the figure introduces an element of anecdote
0:07:21 > 0:07:24which is utterly distorting.
0:07:24 > 0:07:30You know, it's not actually a very well-summarised figure, that.
0:07:30 > 0:07:31There's a wedge of paint on the left arm,
0:07:31 > 0:07:34which doesn't describe anything at all to me.
0:07:34 > 0:07:35That's his rucksack.
0:07:35 > 0:07:37Is it? Well, exactly.
0:07:37 > 0:07:38Oh, dear.
0:07:38 > 0:07:41What started out as a small point about the sky
0:07:41 > 0:07:43seems to be snowballing.
0:07:43 > 0:07:46David's now picking holes in everything.
0:07:46 > 0:07:49Come on, Roy, Lorna needs something positive here.
0:07:51 > 0:07:54Lorna, the element I do like about this is the foreground.
0:07:54 > 0:07:55It's very free.
0:07:55 > 0:07:58You know, you can tell that the person who's painted it
0:07:58 > 0:08:00has had real joy doing that.
0:08:00 > 0:08:02There's a quirkiness and almost a kookiness
0:08:02 > 0:08:06about the kind of colours you've used and how you've put them across.
0:08:06 > 0:08:09That shows a great deal of confidence,
0:08:09 > 0:08:12and self-confidence in an artist is a very good thing.
0:08:12 > 0:08:15You have a lovely touch in parts
0:08:15 > 0:08:18and I really like your sense of colour in the sky.
0:08:18 > 0:08:22A really important criteria for me is emotional impact,
0:08:22 > 0:08:25and I think this is where I'm not feeling a huge amount.
0:08:27 > 0:08:32Lorna, you described yourself accurately as an amateur painter.
0:08:32 > 0:08:34I need say no more.
0:08:35 > 0:08:39Hmm, someone clearly got out of the wrong side of the bed this morning
0:08:39 > 0:08:41and poor Lorna's feeling the brunt of it.
0:08:41 > 0:08:44She's been waiting her whole life for this opportunity.
0:08:44 > 0:08:47But the next few seconds might feel even longer.
0:08:50 > 0:08:53- David. - No.
0:08:54 > 0:08:56- Charlotte. - No.
0:08:56 > 0:08:59I'm sorry, Lorna. Doesn't matter what I say.
0:08:59 > 0:09:01It would be no, as well.
0:09:01 > 0:09:02Thank you.
0:09:02 > 0:09:04- But thank you for bringing it in. - Thank you. Goodbye.
0:09:04 > 0:09:07- Thank you. Lovely to meet you. - Bye-bye.
0:09:14 > 0:09:17Come back to the happy room. You all right?
0:09:17 > 0:09:18- It was horrible. - Didn't like it?
0:09:18 > 0:09:20No, didn't like it. But fair dos.
0:09:20 > 0:09:22They've got to do what they've got to do,
0:09:22 > 0:09:26and it's not going to stop me painting.
0:09:26 > 0:09:28Good. Have you found it rewarding?
0:09:28 > 0:09:34Um, yes. I suppose they say what you know in your heart,
0:09:34 > 0:09:37but you don't want other people to say it.
0:09:37 > 0:09:40You want other people to say, "Oh, actually, this is a real zingy painting."
0:09:40 > 0:09:42Yes, it's a little bit too real, isn't it, sometimes?
0:09:42 > 0:09:44Yes, it's a little bit too real.
0:09:44 > 0:09:45It's been great to meet you.
0:09:45 > 0:09:48- And we are so glad you brought your painting in. All right?- Thank you.
0:09:48 > 0:09:51- Good luck with everything. - Thank you.- Have a safe journey.
0:09:51 > 0:09:53- Thank you. Cheerio, Chris. - Bye-bye.
0:09:54 > 0:09:57To win a place at the exhibition, we asked artists,
0:09:57 > 0:10:00both amateur and professional, to send us their work.
0:10:00 > 0:10:02And we had entries from all over the country.
0:10:02 > 0:10:04But only the best got through to our Hanging Committee.
0:10:07 > 0:10:10One of the lucky few was Afsheen Nasir,
0:10:10 > 0:10:13a civil servant from Addlestone in Surrey.
0:10:13 > 0:10:17She's always dreamt of becoming an artist but after getting married at 19,
0:10:17 > 0:10:21she started a family, and art went on the back burner.
0:10:21 > 0:10:23It's only now, at the age of 36,
0:10:23 > 0:10:26that she's finally able to pursue her passion.
0:10:26 > 0:10:28Afsheen. Lovely to meet you.
0:10:28 > 0:10:29Nice to meet you, too.
0:10:29 > 0:10:33So, tell me about your artistic passion. When did it start?
0:10:33 > 0:10:37Ever since I can remember. I've always been interested in art.
0:10:37 > 0:10:41It's something that I knew I wanted to pursue, but life is such
0:10:41 > 0:10:45that these sort of things sometimes have to go on the back shelf.
0:10:45 > 0:10:50I mean, obviously, if you do sell your piece at the exhibition, what would you do with the money?
0:10:50 > 0:10:52I'd like to go back to Venice. I've been there once.
0:10:52 > 0:10:55It was an anniversary gift from my husband.
0:10:55 > 0:10:58It was a surprise and so it's got absolutely gorgeous memories.
0:10:58 > 0:11:00I wish you all the luck in the world.
0:11:00 > 0:11:01Thank you, Chris.
0:11:01 > 0:11:05- Through that door, could be everything you wish for.- Thank you.
0:11:07 > 0:11:12This is a huge moment for Afsheen. She's had no formal training
0:11:12 > 0:11:15and until now has only drawn and painted as a hobby.
0:11:17 > 0:11:20And yet she's about to show her pen-and-ink drawing
0:11:20 > 0:11:22to three powerhouses of the art world.
0:11:22 > 0:11:25She wants to know if she's got any talent,
0:11:25 > 0:11:27and she's about to find out.
0:11:35 > 0:11:37- Afsheen, hello. - Hello, there.
0:11:37 > 0:11:40Welcome to the Hanging Committee. Could you tell us about your work?
0:11:40 > 0:11:43Right. This is called Monday Evening.
0:11:43 > 0:11:46It's a series of drawings that I'm doing
0:11:46 > 0:11:50exploring space and total vision.
0:11:50 > 0:11:53It's not something that's flat on a piece of paper,
0:11:53 > 0:11:56but you feel as if you're part of that scene.
0:11:56 > 0:11:58This particular one is of me and my husband.
0:11:58 > 0:12:01We were watching TV in our room,
0:12:01 > 0:12:03which is, you know, our alone time together.
0:12:03 > 0:12:06And it was a peaceful moment, without the kids,
0:12:06 > 0:12:09and I've tried to depict that cosiness in it.
0:12:09 > 0:12:13- And how much would you value this picture at?- About 450.
0:12:13 > 0:12:16- Can we have a closer look? - Of course.
0:12:19 > 0:12:22Afsheen's work will be judged on three criteria.
0:12:22 > 0:12:26Technical skill, originality and emotional impact.
0:12:26 > 0:12:28To make it through to the exhibition,
0:12:28 > 0:12:31she will need two yes votes from the judges
0:12:31 > 0:12:32at the end of the Hanging Committee.
0:12:32 > 0:12:35Only then will she have a chance at selling her work
0:12:35 > 0:12:38and taking her husband on that return trip to Venice.
0:12:42 > 0:12:45I was really intrigued when you described this as reflecting
0:12:45 > 0:12:49a moment of cosiness between your husband and yourself,
0:12:49 > 0:12:53because I find, emotionally, this makes me feel the opposite.
0:12:53 > 0:12:59- Really? - I find it quite a disturbing image. The room has been opened out.
0:12:59 > 0:13:02The pictures that you've depicted on the wall look too high.
0:13:02 > 0:13:06The light has become almost like a kind of helicopter,
0:13:06 > 0:13:08all these shadows playing on it.
0:13:08 > 0:13:10It's almost as though the walls are coming in.
0:13:10 > 0:13:15It's as though the room is invading the place of this person,
0:13:15 > 0:13:19who's there by himself. It's kind of frightening.
0:13:19 > 0:13:22It feels to me almost like a sequence in a film where someone's
0:13:22 > 0:13:25taken drugs and the world is starting to move around them.
0:13:25 > 0:13:27That's not cosy.
0:13:27 > 0:13:29The word cosy may have given the wrong,
0:13:29 > 0:13:31you know, obviously...
0:13:31 > 0:13:33It is quite difficult to sometimes
0:13:33 > 0:13:35explain exactly what you've tried to achieve.
0:13:35 > 0:13:36Sure.
0:13:36 > 0:13:38CHARLOTTE: The work has to stand alone. It's how we read it.
0:13:38 > 0:13:40Well, I hope it does.
0:13:42 > 0:13:46So, Afsheen thought she was portraying domestic cosiness.
0:13:46 > 0:13:51But the judges' emotional response couldn't have been more different.
0:13:51 > 0:13:53Is it original? Yes, I think it is very original.
0:13:53 > 0:13:56It's brave of you to try something like just raw Indian ink and pen.
0:14:00 > 0:14:03I think it's a very powerful piece.
0:14:03 > 0:14:05You make us feel that the room is somehow alive
0:14:05 > 0:14:09and the way you apply that cross-hatching is adding
0:14:09 > 0:14:14to how I'm reading this work and it's making me feel a bit uneasy.
0:14:14 > 0:14:15I love the technique.
0:14:15 > 0:14:18I think it's very brave, as well, to do that.
0:14:18 > 0:14:20You know, one false move and you start again.
0:14:20 > 0:14:24It's a very interesting thing, and a very unusual work for somebody
0:14:24 > 0:14:26who hasn't been at this for very long.
0:14:28 > 0:14:30This is incredible praise for someone
0:14:30 > 0:14:31who's had no formal training.
0:14:31 > 0:14:35I've got a good feeling about this one, but I have been wrong before.
0:14:35 > 0:14:38Has she done enough to get a place at the exhibition?
0:14:38 > 0:14:39It's time for the vote.
0:14:41 > 0:14:43David, would you like to kick off?
0:14:44 > 0:14:46Yes.
0:14:47 > 0:14:50Wow! I think that's the quickest yes we've ever had from David.
0:14:50 > 0:14:53But Roy seems to be taking his time.
0:15:00 > 0:15:03I am very 50-50 on this.
0:15:03 > 0:15:05I want to encourage you and I like this picture,
0:15:05 > 0:15:11but I'm not convinced it has the full merits that we need.
0:15:13 > 0:15:16So, I think, on balance, I'm going to say no, I'm afraid.
0:15:17 > 0:15:20Hmm, I didn't expect that from Roy.
0:15:20 > 0:15:22The casting vote now lies with Charlotte.
0:15:24 > 0:15:26Afsheen, I think Roy's mad. I'm going to say yes.
0:15:26 > 0:15:29Thank you. Thank you so much.
0:15:32 > 0:15:35It's a triumph for the civil servant from Addlestone.
0:15:35 > 0:15:37The artist in her is out.
0:15:37 > 0:15:39Her drawing will be hanging at The Mall Galleries.
0:15:39 > 0:15:41But the big question now is
0:15:41 > 0:15:45will she sell and earn some cash for that trip to Venice?
0:15:52 > 0:15:56The Mall Galleries, London, and Afsheen's pen-and-ink drawing
0:15:56 > 0:15:59took its place on the wall of our prestigious exhibition.
0:15:59 > 0:16:02Open to the public, art dealers and critics alike,
0:16:02 > 0:16:06it was the perfect event for Afsheen to make her mark.
0:16:08 > 0:16:10I felt quite nervous when people were approaching it.
0:16:10 > 0:16:14It really does feel quite surreal. I don't think it's sunk in yet.
0:16:14 > 0:16:19But would anyone be interested in buying her work?
0:16:19 > 0:16:22I think there's a couple of pieces we'll probably put a bid in for.
0:16:22 > 0:16:26The public were invited to make sealed bids to an independent agent,
0:16:26 > 0:16:28who would then take a 10% commission on sales.
0:16:28 > 0:16:31The results of the bidding were handed to me
0:16:31 > 0:16:35in a sealed envelope and kept secret, until I opened it
0:16:35 > 0:16:38in front of the artist on the final day of the exhibition.
0:16:39 > 0:16:42- How was last night for you?- Amazing. It was better than I expected.
0:16:42 > 0:16:45I got to speak to a lot of people. Very interesting comments.
0:16:45 > 0:16:48So it was a brilliant night, brilliant night.
0:16:48 > 0:16:52Brilliant. So, taking a giant step into this art world
0:16:52 > 0:16:53- and being a professional? - I hope so.
0:16:53 > 0:16:58Good. The other person I saw last night was this one, here!
0:16:58 > 0:17:01- He's there, isn't he?- He is. - Explain to everyone else who he is.
0:17:01 > 0:17:03This is my husband.
0:17:03 > 0:17:05Yes, and you've brought a lot of other people here.
0:17:05 > 0:17:08- Are you all proud of her? - Absolutely.- Of course.
0:17:08 > 0:17:12OK. Let's just remind ourselves. How much did you want for this?
0:17:12 > 0:17:13I put a guide price of 450.
0:17:13 > 0:17:17- What were you thinking of spending it on? - I did say going back to Venice.
0:17:17 > 0:17:20- What?- So...
0:17:20 > 0:17:22It's news to you, back to Venice?
0:17:23 > 0:17:26So, £450 to go to Venice.
0:17:26 > 0:17:30Let's see if you made any money. Fingers crossed, family, friends.
0:17:30 > 0:17:31Here we go.
0:17:35 > 0:17:37Have you got your fingers crossed?
0:17:37 > 0:17:39Yeah, he's got his fingers crossed, good.
0:17:41 > 0:17:43Afsheen...
0:17:43 > 0:17:45You didn't get any offers.
0:17:45 > 0:17:46ALL GROAN
0:17:48 > 0:17:50- What happened?- I have no idea.
0:17:50 > 0:17:52Well, actually I do,
0:17:52 > 0:17:54because I didn't create this piece to go above a sofa.
0:17:54 > 0:17:57It's not something that's just going to look good on a wall.
0:17:57 > 0:18:01But, really, the whole experience, the people I've spoken to,
0:18:01 > 0:18:03it's just been amazing.
0:18:03 > 0:18:05And, yes, there's a smidgen of disappointment,
0:18:05 > 0:18:08but honestly it's not, it's not huge.
0:18:08 > 0:18:10Well, give her a round of applause. Family, give her a cuddle!
0:18:15 > 0:18:18Afsheen may not have sold her work,
0:18:18 > 0:18:21but it's a fantastic stepping stone in her career.
0:18:28 > 0:18:32Artist after artist stood before the Hanging Committee
0:18:32 > 0:18:33in the hope of impressing the judges.
0:18:35 > 0:18:36But not everybody could make it through.
0:18:38 > 0:18:4078-year-old retired engineer Doug Shaw
0:18:40 > 0:18:44brought along his painting of his home town of Scarborough.
0:18:44 > 0:18:47I feel a great affinity with it.
0:18:47 > 0:18:50You know I've known this scene for, for 24 years
0:18:50 > 0:18:53and I'd never had the confidence to ever try and paint it.
0:18:53 > 0:18:56And it took him quite some time.
0:18:56 > 0:19:02Technically, I think we see every one of your 304 hours
0:19:02 > 0:19:06and feel the love and attention you have put into this painting.
0:19:06 > 0:19:08But for David and Roy,
0:19:08 > 0:19:12Doug's weeks spent at the canvas didn't quite pay off.
0:19:12 > 0:19:15It's almost as though you've painted the life out of it.
0:19:15 > 0:19:20I'm impressed by it, but not moved by it.
0:19:20 > 0:19:23I feel more like it's an advert, somehow.
0:19:23 > 0:19:25"Come to Scarborough. It's the Riviera of the North."
0:19:25 > 0:19:27I'm afraid Doug, it's a no.
0:19:27 > 0:19:29I think I would have said yes.
0:19:29 > 0:19:3239-year-old dad, Martin Norman,
0:19:32 > 0:19:37wanted £1,450 for his bronze resin duck sculpture.
0:19:37 > 0:19:40It's a piece of mine called "Get Your Ducks in a Row".
0:19:40 > 0:19:43And initially, things took off nicely.
0:19:43 > 0:19:45It's quite hard to be original with a duck,
0:19:45 > 0:19:47but you have brought a smile to my face.
0:19:47 > 0:19:52But David didn't think Martin's ducks had a place in an art gallery.
0:19:52 > 0:19:56It's not original. I see things like that in garden centres.
0:19:56 > 0:19:58I don't think you'd find something like that in a garden centre.
0:19:58 > 0:20:02I think more garden sculpture is perhaps what David meant.
0:20:02 > 0:20:04Which are a lot more crude than that.
0:20:04 > 0:20:07I don't distinguish that kind of thing from a garden gnome, really.
0:20:07 > 0:20:11I can't see this in an art exhibition, I'm sorry. No.
0:20:11 > 0:20:14Next up, was professional sculptor, Madeleine Vale,
0:20:14 > 0:20:19who grabbed Roy's attention with her specially commissioned dog ceramics.
0:20:19 > 0:20:23I can't believe no-one's thought of doing ceramic dog portraits before.
0:20:23 > 0:20:25It's a brilliant idea.
0:20:25 > 0:20:29People either get it, or they don't. Some people walk past saying, "God, they're awful".
0:20:29 > 0:20:31But David was characteristically blunt.
0:20:33 > 0:20:36If we showed that in an exhibition of art,
0:20:36 > 0:20:39in The Mall, in London, we'd never work again.
0:20:39 > 0:20:42I don't understand why.
0:20:42 > 0:20:44Everyone would have a smile on their face.
0:20:44 > 0:20:48- Madeleine, thank you for the smiles, but no.- OK.
0:20:48 > 0:20:52Care Assistant Samuel Burton was hoping for exposure
0:20:52 > 0:20:56beyond his local area, with his Yorkshire street painting.
0:20:56 > 0:20:58I always thought you could see different colours,
0:20:58 > 0:21:01subtle colours actually in Tarmac itself.
0:21:01 > 0:21:05Charlotte had immediate worries about the subject matter.
0:21:05 > 0:21:08Unless you're local and know the scene, I think it would be hard
0:21:08 > 0:21:12to expect this to sell beyond the Wakefield area.
0:21:12 > 0:21:15But for a self-taught artist, really well done.
0:21:15 > 0:21:19But when it came to the vote, David had a tough call to make.
0:21:19 > 0:21:23You're on the edge, Samuel. Mine's a no as well.
0:21:23 > 0:21:26But do keep working as hard as you can.
0:21:26 > 0:21:28Thank you very much for showing it to us.
0:21:28 > 0:21:31Thank you for your comments. They've been interesting.
0:21:33 > 0:21:37Eltham Palace, South London, where medieval royalty once held court
0:21:37 > 0:21:42and now the destination for hopeful artists from all over the country.
0:21:43 > 0:21:47Next up was 30-year-old engineer, Michelle Deakin from Birmingham.
0:21:47 > 0:21:53Michelle has two passions in life - photography and insects.
0:21:53 > 0:21:56She's hoping to combine the two
0:21:56 > 0:21:58by pursuing a career taking pictures of bugs.
0:21:58 > 0:22:01How has this sort of culminated?
0:22:01 > 0:22:03I mean, apart from whizzing around with your camera.
0:22:03 > 0:22:04Have you gone to college?
0:22:04 > 0:22:07Oh, no college. It's all been magazines. Or just the internet.
0:22:07 > 0:22:09If I see a photo and I think, "Oh, I like that",
0:22:09 > 0:22:13I'll try and find out how it's done and try it out myself.
0:22:13 > 0:22:16- So completely self-taught? - Completely self-taught, yes.
0:22:16 > 0:22:18My goodness.
0:22:18 > 0:22:21What would you do if you sold at the exhibition, your piece?
0:22:21 > 0:22:24I think I would try and start putting more pieces
0:22:24 > 0:22:25and getting them out there.
0:22:25 > 0:22:30Because I've got a lot of other photos, which, you know, I like
0:22:30 > 0:22:33and what other people have said, "Oh, that's a good photo".
0:22:33 > 0:22:36But you never really know if it is unless someone else says.
0:22:36 > 0:22:39Yeah, OK. So, you wouldn't get another tattoo?
0:22:39 > 0:22:40Yes, I would.
0:22:40 > 0:22:43Would you? Look at these fascinating tattoos here.
0:22:43 > 0:22:47All of them are bugs and spiders and dragonflies.
0:22:47 > 0:22:48A ladybird at the back.
0:22:48 > 0:22:50And at the top, there's some bees.
0:22:50 > 0:22:53- What sort of bug would you have? - Maybe a centipede.
0:22:55 > 0:22:57- Well, I wish you the best of luck. - Thank you.
0:22:57 > 0:23:00I love that, and I hope you have a centipede
0:23:00 > 0:23:02to join the rest of the insects there.
0:23:02 > 0:23:05- Away you go and the very best of luck.- Thank you.
0:23:09 > 0:23:12This really is a huge opportunity for Michelle.
0:23:12 > 0:23:14She's had no formal training as a photographer,
0:23:14 > 0:23:17and any criticism has come from friends and family.
0:23:17 > 0:23:23Now she has three judges to impress, who take their art very seriously.
0:23:23 > 0:23:26What will they make of her creepy-crawly photo?
0:23:28 > 0:23:30Oh, my goodness. I hate spiders.
0:23:32 > 0:23:34An arachnophobe on the panel. Not a great start.
0:23:34 > 0:23:38My son has a pet tarantula called Frank Lampard.
0:23:42 > 0:23:44That's weird on so many levels, David.
0:23:52 > 0:23:54Michelle, please introduce your work.
0:23:54 > 0:23:56This is Silhouette Spider.
0:23:56 > 0:23:58It was took about two years ago,
0:23:58 > 0:24:02down a country park near where I live, around October time,
0:24:02 > 0:24:05and that's how I got the background colours of the grass,
0:24:05 > 0:24:09which had been dying out, and the trees,
0:24:09 > 0:24:12which had still yet to turn and drop their leaves.
0:24:12 > 0:24:15And the spider's waiting for winter to come.
0:24:17 > 0:24:19What price do you put on this work, Michelle?
0:24:19 > 0:24:22I put £100 on this piece.
0:24:22 > 0:24:24Thank you.
0:24:24 > 0:24:26I'm going to now say, we'll take a closer look.
0:24:26 > 0:24:28Oh, my goodness.
0:24:29 > 0:24:31Calm down, Charlotte. It's only a photograph.
0:24:31 > 0:24:34If Michelle gets a place at the exhibition,
0:24:34 > 0:24:37it'll be an incredible validation for this self-taught photographer.
0:24:40 > 0:24:45But has she done enough to impress three very demanding critics?
0:24:51 > 0:24:53Michelle, being an observant fellow that I am,
0:24:53 > 0:24:57- I couldn't help notice the spider tattoo on your arm.- Yes.
0:24:59 > 0:25:00So, this is a recurring love?
0:25:00 > 0:25:06Yes, it is. It's as much as a hobby as my photography is a hobby.
0:25:06 > 0:25:09Any bugs that I come across, any animal.
0:25:09 > 0:25:11I love that side of it, because you can't pose them.
0:25:11 > 0:25:14You have to take them how you find them.
0:25:14 > 0:25:17You can't poke it, because it'll just run away.
0:25:17 > 0:25:20Would you see yourself becoming a nature photographer?
0:25:20 > 0:25:22Yes, I would love to.
0:25:22 > 0:25:26Not just England, but travel and find any bugs, anywhere.
0:25:26 > 0:25:27I would love that.
0:25:27 > 0:25:29There's no doubting Michelle's enthusiasm for bugs,
0:25:29 > 0:25:33but do her photography skills match up to her passion?
0:25:35 > 0:25:39I don't think that's an interesting composition,
0:25:39 > 0:25:44and the background is, you know, too heavy on the mustard for me.
0:25:45 > 0:25:49If you're going to take pictures of nature,
0:25:49 > 0:25:53they're going to have to be a great deal more revelatory
0:25:53 > 0:25:54than that one is.
0:25:57 > 0:25:59The criticism that I would have of this bug itself
0:25:59 > 0:26:01is it's not as sharp as I'd like it to be.
0:26:01 > 0:26:05There's enough detail that it's not just a vague silhouette.
0:26:05 > 0:26:07You can see hairs on its legs.
0:26:07 > 0:26:09But once you start staring at that,
0:26:09 > 0:26:12you want to see everything in a very textbook way.
0:26:13 > 0:26:16Hmm, I'm not sure Miss Arachnophobe would agree with you there, Roy.
0:26:16 > 0:26:19Hairy spider's legs? Charlotte's got to be loving this.
0:26:22 > 0:26:26Michelle, this is an incredibly stylish treatment of a spider.
0:26:28 > 0:26:31By that I mean, the background is blurry and abstract,
0:26:31 > 0:26:33the spider is a silhouette of a spider.
0:26:33 > 0:26:36If you want to pursue a career as a nature photographer
0:26:36 > 0:26:40and travel worldwide, you will have to show more of the insect
0:26:40 > 0:26:42or object you're photographing.
0:26:42 > 0:26:45If you want to be an artist,
0:26:45 > 0:26:49we need to see more of you in the image we look at.
0:26:49 > 0:26:52You need to probably, in yourself, decide which way you want to go
0:26:52 > 0:26:54and go that way more forcefully.
0:26:54 > 0:26:56In terms of emotional impact,
0:26:56 > 0:26:59I can say my heart is beating twice as fast as normal,
0:26:59 > 0:27:02but that is not for the right reasons.
0:27:04 > 0:27:06It sounds like Michelle has an important choice to make.
0:27:06 > 0:27:10Is she a fine artist, or a nature photographer?
0:27:10 > 0:27:14I have a feeling the next few seconds will help her decide.
0:27:19 > 0:27:21- David. I'm going to start with you. - No.
0:27:23 > 0:27:24Roy?
0:27:24 > 0:27:27I'd like to see more of you in your photographs.
0:27:28 > 0:27:30No.
0:27:31 > 0:27:35I'm afraid it's no from me too. But lovely to meet you, and good luck.
0:27:35 > 0:27:38- OK, thank you.- Thank you.
0:27:38 > 0:27:40It's three nos.
0:27:40 > 0:27:43This bug-mad photographer won't be going through to the exhibition,
0:27:43 > 0:27:46but hopefully the judges' comments
0:27:46 > 0:27:48will leave her with a lot of food for thought.
0:27:53 > 0:27:55Michelle, bad luck.
0:27:55 > 0:27:56- It's OK.- Yeah?- Yeah.
0:27:56 > 0:27:59I'm still going to carry on taking photos of spiders
0:27:59 > 0:28:00and everything I see.
0:28:00 > 0:28:03Tell me, what are you going to take away from today?
0:28:03 > 0:28:05Because I think some of it was very rewarding.
0:28:05 > 0:28:07It is something that I can go away and think about.
0:28:08 > 0:28:11For me, to pick which way to go, like they said, the art way
0:28:11 > 0:28:15or the nature way, I've never really thought of it in that way.
0:28:15 > 0:28:18We wish you the best of luck. It's been really lovely meeting you.
0:28:18 > 0:28:22And good luck on that journey, whether it's fine art or nature,
0:28:22 > 0:28:25I'm sure we'll see you again. Really lovely to meet you.
0:28:26 > 0:28:28All our artists have the same goal.
0:28:28 > 0:28:31To show and sell their work at The Mall Galleries.
0:28:33 > 0:28:37Next to try his luck was Francesco Benenato,
0:28:37 > 0:28:39a 29-year-old art student from Italy.
0:28:39 > 0:28:42He's in his first year at art school in London
0:28:42 > 0:28:46and is desperate to make a name for himself in the art world.
0:28:46 > 0:28:48Francesco, welcome.
0:28:48 > 0:28:50- Nice to meet you. - Nice to meet you.
0:28:50 > 0:28:51Now, many people would say,
0:28:51 > 0:28:55if you're going to be studying art, you should be doing it in Italy.
0:28:55 > 0:28:58I think there is a very different way of approaching
0:28:58 > 0:28:59to the art in Italy.
0:28:59 > 0:29:03Here in London, it's more about producing work,
0:29:03 > 0:29:05rather than studying what has been done in the past.
0:29:05 > 0:29:07OK. So, if you're successful,
0:29:07 > 0:29:10what would you do with the money that you make from selling your art?
0:29:10 > 0:29:13Oh, I pay my rent, I guess.
0:29:13 > 0:29:17Yeah, that's quite important. You just about pay your rent, OK.
0:29:17 > 0:29:19Now, you need two yeses out of the three judges.
0:29:19 > 0:29:22So I wish you the very, very best of luck.
0:29:22 > 0:29:24Thank you very much, and I'll see you later.
0:29:24 > 0:29:26Away you go, through those doors.
0:29:28 > 0:29:31Francesco originally trained as an architect,
0:29:31 > 0:29:34but he came to London hoping to establish a career as an artist.
0:29:34 > 0:29:37So this is a great opportunity.
0:29:38 > 0:29:40He's submitted this sculpture,
0:29:40 > 0:29:44and is hoping it'll give him his first big break in the UK.
0:29:53 > 0:29:56Hello, Francesco. Welcome to the Hanging Committee. Please tell us about your work.
0:29:56 > 0:29:59My work is a part of a series of five different sculptures
0:29:59 > 0:30:02and they're all made out of wood and clay.
0:30:02 > 0:30:05The idea is like the eye cannot distinguish any more
0:30:05 > 0:30:08which one is the wood and which one is the clay,
0:30:08 > 0:30:12and I like to give this kind of flesh that colours the body,
0:30:12 > 0:30:15because all the pieces come from a cemetery,
0:30:15 > 0:30:18and the idea is because I like to collect something
0:30:18 > 0:30:20that, in a way, is already dead
0:30:20 > 0:30:23and I aim, with my practice, to bring it alive.
0:30:23 > 0:30:28Francesco's series of works involve reclaiming dead wood from cemeteries
0:30:28 > 0:30:31and then adding clay to make them look as if they're coming alive.
0:30:31 > 0:30:34That's got to score points for originality.
0:30:35 > 0:30:37Can you tell me how much you value your work at?
0:30:37 > 0:30:39This one is £2,000.
0:30:39 > 0:30:42- 2,000?- Yeah. - Why have you priced it at that much?
0:30:42 > 0:30:45I just felt it was right for that.
0:30:45 > 0:30:48You say this is one of five. Have you sold any of the others?
0:30:48 > 0:30:49Yes.
0:30:49 > 0:30:54Still only a student and already selling his work. Very impressive.
0:30:54 > 0:30:57- We'll come and take a closer look. - Please. You can touch it, as well.
0:30:59 > 0:31:02This is a crucial moment for Francesco.
0:31:02 > 0:31:07His work is being examined by three of the art world's toughest critics.
0:31:19 > 0:31:25My question is, when wood metamorphoses into something human,
0:31:25 > 0:31:28it can be all sorts of things that are human,
0:31:28 > 0:31:33not necessarily a sphincter-like thing, like this.
0:31:33 > 0:31:37Are you being deliberately provocative in the imagery?
0:31:37 > 0:31:39I just find it very natural.
0:31:39 > 0:31:42I don't really think I wanted to provoke anyone.
0:31:42 > 0:31:46Why have you painted it the colour of putrid flesh?
0:31:46 > 0:31:48I mean you're there to celebrate life,
0:31:48 > 0:31:52yet it actually looks as though it's sort of dead and decaying.
0:31:52 > 0:31:54But you don't really see every day
0:31:54 > 0:31:57the colour or your liver, your lungs, your heart.
0:31:57 > 0:32:02And this is what it recalls, I must say, like the human body.
0:32:02 > 0:32:04To me, it's more like life is growing from something dead.
0:32:04 > 0:32:07It's like a new life or a rebirth coming out of the wood.
0:32:07 > 0:32:09I mean, that way, it's quite fascinating.
0:32:09 > 0:32:12The judges seem to be completely at odds about the meaning
0:32:12 > 0:32:15behind Francesco's sculpture.
0:32:15 > 0:32:17Where David sees death, Charlotte sees life.
0:32:17 > 0:32:20But does it have the originality they're looking for?
0:32:20 > 0:32:22I think it is highly skilled.
0:32:22 > 0:32:26I think you've shown what you're trying to do with it.
0:32:26 > 0:32:29It does feel fluid, organic and also rough and bark-like.
0:32:29 > 0:32:33It has something different about it. I think there is originality there.
0:32:33 > 0:32:36It's very well done. I spent ages trying to find the joins
0:32:36 > 0:32:40between the piece of wood and what you've added to it, and I can't.
0:32:40 > 0:32:42But originality is the area
0:32:42 > 0:32:44where I think there's just a slight issue for me.
0:32:46 > 0:32:48I've not seen anything like that before.
0:32:48 > 0:32:51So, in that sense, it is original and it's very personal to you,
0:32:51 > 0:32:53that I understand, as well.
0:32:53 > 0:32:55In terms of skill, I don't see it's that skilful,
0:32:55 > 0:33:00But I think you, probably, if you failed in art,
0:33:00 > 0:33:02would have a good career in Hollywood special effects,
0:33:02 > 0:33:04or something like that.
0:33:05 > 0:33:06Was that a compliment?
0:33:06 > 0:33:09Sometimes you just can't tell with David.
0:33:09 > 0:33:12Francesco came to the UK hoping to establish himself
0:33:12 > 0:33:13as a professional artist
0:33:13 > 0:33:18and now he's just two yes votes away from launching his career.
0:33:21 > 0:33:23CHARLOTTE: I'm going to you first, Roy. Yes or no?
0:33:23 > 0:33:25Francesco, it's yes.
0:33:27 > 0:33:28David?
0:33:35 > 0:33:36I'm repelled by it. No.
0:33:36 > 0:33:38It's not natural.
0:33:40 > 0:33:43This is it. Everything now rests with Charlotte.
0:33:53 > 0:33:56I really feel caught between two votes, here.
0:34:04 > 0:34:05I think...
0:34:08 > 0:34:11I'm going to have to say no. I'm really sorry.
0:34:11 > 0:34:13- That's OK.- It's not going to make the exhibition,
0:34:13 > 0:34:15but I do think you should keep at it,
0:34:15 > 0:34:18and maybe we'll see you again next year.
0:34:18 > 0:34:20- That's fine. - Thank you very much, Francesco.
0:34:20 > 0:34:21That's absolutely fine.
0:34:21 > 0:34:23That was so close.
0:34:23 > 0:34:28Francesco was a hair's breadth away from a spot at the exhibition.
0:34:28 > 0:34:32But for now, he and his sculpture will be going back to art school.
0:34:37 > 0:34:41Gosh, that was so hard. It really was very hard.
0:34:41 > 0:34:43You've got a point with the Hollywood thing.
0:34:43 > 0:34:45That wouldn't look out of place on Doctor Who.
0:34:51 > 0:34:54One after another, they arrived at the palace, all hoping
0:34:54 > 0:34:58they would have what it takes to earn a place at the exhibition.
0:34:58 > 0:35:00The next hopeful contender
0:35:00 > 0:35:04was 23-year-old photographer, Maria Galvin.
0:35:04 > 0:35:06Since leaving college last year,
0:35:06 > 0:35:09Maria's been making ends meet with odd jobs here and there.
0:35:09 > 0:35:11But this lady has big ambitions.
0:35:13 > 0:35:15- Hiya.- Hi, Maria, nice to meet you. - Nice to meet you too.
0:35:15 > 0:35:18What would you like to do in the world of photography?
0:35:18 > 0:35:21I would like to work with charities and work on humanitarian
0:35:21 > 0:35:24and environmental commissions abroad really, ideally.
0:35:24 > 0:35:27- OK. You can make a bit of cash out of it.- Yeah, yeah.
0:35:27 > 0:35:30If you get to the exhibition and you do sell,
0:35:30 > 0:35:32what would you spend the money on?
0:35:32 > 0:35:35I've got a project this year, going to India, working with charities.
0:35:35 > 0:35:37Would that make a big difference also to your career?
0:35:37 > 0:35:39- This is a step in the right direction?- Yeah.
0:35:39 > 0:35:42This is what I want to do, this sort of work. This is my passion.
0:35:42 > 0:35:45I'm excited. All right. Well, wish you the best of luck.
0:35:45 > 0:35:47- Thank you. - The judges are through there.
0:35:47 > 0:35:49See you later. Thank you.
0:35:51 > 0:35:54This is a big moment for Maria.
0:35:54 > 0:35:56Getting through to the exhibition and making a sale
0:35:56 > 0:35:59will take her one step closer to her dream
0:35:59 > 0:36:01of working for a charity in India.
0:36:03 > 0:36:06Whether she gets that chance all depends on what the judges
0:36:06 > 0:36:10make of this photograph, called Samso Energy Academy.
0:36:19 > 0:36:21Maria, welcome to the Hanging Committee.
0:36:21 > 0:36:24Would you kindly introduce your work to us?
0:36:24 > 0:36:27Yeah. This is a photograph, which was taken in Samso.
0:36:27 > 0:36:28Samso's a small island in Denmark.
0:36:28 > 0:36:31They've made themselves completely carbon negative,
0:36:31 > 0:36:35like, 140% reduction in their carbon emissions,
0:36:35 > 0:36:38and this is a photograph of their Energy Academy,
0:36:38 > 0:36:41which is the headquarters of the project on the island.
0:36:41 > 0:36:43How much do you charge for your work?
0:36:43 > 0:36:45This would be 550, this piece.
0:36:45 > 0:36:47Right. 550.
0:36:47 > 0:36:49Yeah.
0:36:49 > 0:36:52- Can we have a closer look? - Of course you can. Yeah, yeah.
0:36:54 > 0:36:58Remember, the judges are looking for originality,
0:36:58 > 0:37:00technical ability and emotional impact.
0:37:04 > 0:37:07Will Maria's photograph tick all of the boxes?
0:37:15 > 0:37:18You've got a photographer's eye, Maria. No question about that.
0:37:18 > 0:37:19Thank you.
0:37:19 > 0:37:23Photographers walk around looking for views like this.
0:37:23 > 0:37:26They look for reflections, they're obsessed with them, aren't they?
0:37:26 > 0:37:27It's also rather painterly.
0:37:27 > 0:37:31The way the tones and the colours work together,
0:37:31 > 0:37:33it's almost like she's composed it.
0:37:33 > 0:37:36I think you've chosen that view because,
0:37:36 > 0:37:40if you stood to the left, you'd get your reflection in the window.
0:37:40 > 0:37:45- Yeah.- Which would turn it into a completely different photograph.
0:37:45 > 0:37:50And your reflection is, in fact, absorbed into the shrubbery.
0:37:50 > 0:37:54Obviously, the point of the island is about that idea that the landscape,
0:37:54 > 0:37:58- the building, and the people, culture and nature, becomes one.- Yeah.
0:37:58 > 0:38:01My only slight criticism - I think there's a slight ripple in the print.
0:38:01 > 0:38:04- Yeah.- You just need to watch out how you present it.
0:38:04 > 0:38:07I think the landscape and everything about eco-technology
0:38:07 > 0:38:10is very important in the picture,
0:38:10 > 0:38:13but I could be Jeremy Clarkson and like it just as much.
0:38:13 > 0:38:16And I think that's very, that's a key thing,
0:38:16 > 0:38:20because when you go after one issue, such as environmentalism, in any way,
0:38:20 > 0:38:22it can put off a great section of the public.
0:38:22 > 0:38:25And this, for me at least, doesn't do that.
0:38:25 > 0:38:27But the image itself is quite difficult to navigate.
0:38:27 > 0:38:29There's a lot in there. It's quite confusing.
0:38:29 > 0:38:32Do you feel it's overly complicated as an image?
0:38:32 > 0:38:36Personally, no, I don't. I suppose it depends which way you look at it.
0:38:36 > 0:38:38I've had reactions that have said it's fascinating,
0:38:38 > 0:38:41because you can keep looking and keep seeing more.
0:38:41 > 0:38:45So it depends which side of the argument you're on, I suppose.
0:38:45 > 0:38:49A confident defence of her work. But now it's crunch time.
0:38:49 > 0:38:52Maria's about to find out if her photograph is one of the select few
0:38:52 > 0:38:55to earn a place on the wall at The Mall Galleries.
0:39:00 > 0:39:01A definite yes from me.
0:39:01 > 0:39:04Thank you. Brilliant.
0:39:05 > 0:39:07Roy?
0:39:09 > 0:39:11It's yes.
0:39:11 > 0:39:13Absolutely, yes. Well done. Congratulations.
0:39:13 > 0:39:19Fantastic! Three yeses and Maria is now off to the exhibition.
0:39:19 > 0:39:22She has a real chance to earn some cash for that trip to India.
0:39:28 > 0:39:29The Mall Galleries, London.
0:39:29 > 0:39:31Only a select few made it through
0:39:31 > 0:39:35and got the chance to put their art up for sale at the exhibition.
0:39:36 > 0:39:39Maria was one of the lucky few and had her fingers crossed
0:39:39 > 0:39:41she would be leaving with some cash.
0:39:42 > 0:39:45I always try and stay positive. Let's keep it positive.
0:39:45 > 0:39:49Hopefully we'll sell it. You never know. See how it all turns out.
0:39:49 > 0:39:53With the room full of potential buyers,
0:39:53 > 0:39:55Maria's work was getting some serious attention.
0:39:55 > 0:39:58But did any of them make an offer on her work?
0:39:59 > 0:40:02All successful bids were subject to a 10% sales commission,
0:40:02 > 0:40:04and the results were handed to me in a sealed envelope,
0:40:04 > 0:40:08which I opened in front of the artist.
0:40:10 > 0:40:12- Maria, nice to see you. - Hi.- Did you have fun last night?
0:40:12 > 0:40:14Yeah, it was a really good evening.
0:40:14 > 0:40:17I saw the biggest smile on your face.
0:40:17 > 0:40:19You looked as if you enjoyed every second of it.
0:40:19 > 0:40:22Yeah, met some lovely people. Really good time.
0:40:22 > 0:40:25- Yeah. Good feedback? - Yeah, loads of it, actually.
0:40:25 > 0:40:27People really interested in how I'd created it,
0:40:27 > 0:40:29and people couldn't believe it was just one photograph,
0:40:29 > 0:40:31so, yeah, it was brilliant.
0:40:31 > 0:40:34Yeah and by the looks of it, you've got a support team behind you.
0:40:34 > 0:40:36Who have we got here?
0:40:36 > 0:40:38My mum and my boyfriend, Joe.
0:40:38 > 0:40:39- Good.- Yeah.
0:40:39 > 0:40:40How do you think she got on?
0:40:40 > 0:40:42Oh, I'm hopeful, yes.
0:40:42 > 0:40:44- Fingers crossed.- You never know.
0:40:44 > 0:40:47A few people were interested, but it's different being interested
0:40:47 > 0:40:50to putting your hand in your pocket. Wanting it on your wall at home
0:40:50 > 0:40:53is entirely different to liking it, so we'll see.
0:40:53 > 0:40:55There were lots of wheelers and dealers in there.
0:40:55 > 0:40:56- Gallery owners.- There were.
0:40:56 > 0:40:58- Could have been an important night for you.- Yeah.
0:40:58 > 0:41:00I met some interesting people.
0:41:00 > 0:41:02Good. I like how you're keeping it secret.
0:41:02 > 0:41:05Now, how much did you want for this? I can't remember.
0:41:05 > 0:41:06550 was the guide price.
0:41:06 > 0:41:09£550. And what are you going to do with the money,
0:41:09 > 0:41:10if I've got some in that envelope?
0:41:10 > 0:41:13We're going to India in three hours, so it'll be useful.
0:41:13 > 0:41:14- In three hours?- Yes.
0:41:14 > 0:41:16For the next seven months.
0:41:16 > 0:41:18We're working with some environmental charities.
0:41:18 > 0:41:20It will go towards our trip there, which will be brilliant.
0:41:20 > 0:41:22- In three hours?- Yeah.
0:41:22 > 0:41:24Right, better get on with it.
0:41:24 > 0:41:28- I suddenly feel panicky.- So do I! - Have you got your passport?
0:41:28 > 0:41:30OK, right. So, Maria, let's see how we got on.
0:41:34 > 0:41:36So, you wanted £550.
0:41:36 > 0:41:38Yeah.
0:41:40 > 0:41:41You've got two offers.
0:41:41 > 0:41:43Good, OK.
0:41:43 > 0:41:45Mum's smiling already.
0:41:47 > 0:41:53The first offer was for £500.10.
0:41:53 > 0:41:5510 pence?
0:41:56 > 0:41:57The second offer...
0:42:01 > 0:42:03..is for £650.
0:42:03 > 0:42:05Oh, my God. That's awesome. Awesome.
0:42:05 > 0:42:09- You've sold! - Well good. That's brilliant.
0:42:09 > 0:42:10- Awesome.- That's amazing.
0:42:11 > 0:42:12Awesome.
0:42:15 > 0:42:17We're going to have to get that cash to you
0:42:17 > 0:42:20- on your way to the airport. - Yeah, hurry up.
0:42:20 > 0:42:22£650, well done.
0:42:25 > 0:42:27- Brilliant.- Well done, you.
0:42:27 > 0:42:29What a result for Maria.
0:42:29 > 0:42:33Two interested bidders and a sale of £100 over her asking price.
0:42:33 > 0:42:36She's off to India with a pocket full of cash
0:42:36 > 0:42:40and a rather large feather in her artistic cap.
0:42:40 > 0:42:41Join us again next time,
0:42:41 > 0:42:45when more budding artists face the Hanging Committee.
0:43:10 > 0:43:12Subtitles by Red Bee Media Ltd