Art GCSE Bitesize Revision


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Meet Matt, Beth, Tim and Ashby - four GCSE art students from Essex.

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They all share the same dream -

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to make a living from their artistic endeavours.

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Top artist Stuart Semple has made millions from his art.

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He exhibits all over the world, counting Sienna Miller

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amongst his celebrity collectors.

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He is going to meet our bright young artists,

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to see how they develop their ideas into great works of art.

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We've given the students hand-held cameras, to film themselves,

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as they cultivate ideas for their final GCSE art exam -

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a ten-hour creative marathon, spread over two school days.

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We'll follow their highs and lows, as they try to turn their raw ideas

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into artistic success.

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Then, after that daunting, ten-hour exam, they will face a public exhibition

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and discover what Stuart really thinks of their work.

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Along the way, we'll see strange experiments from Beth...

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-That one's horrible.

-It's creepy, isn't it?

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There'll be some very arty talk from Tim...

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It's like metaphorical and physical. I'm actually learning something. I'm learning more about myself.

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Matt finds inspiration in some unusual places...

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I found some quite interesting colours in the sky.

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..And Ashby finds the pressure just a little too much...

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Oh, I don't know what I'm saying! Don't know!

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But it will all be worth it

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if these four young artists can makes great works of art.

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I think really it's just a beautiful painting that she's made. It sort of glows.

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Hi, I'm Matt, I'm 16 and my main interests are football and art.

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Matt's not your textbook

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arty type.

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I play a lot of football. I play for my local team, Woodham Radars, and for Essex.

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Away from the easel, he's more Lionel Messi than Leonardo da Vinci.

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-But he loves his street art and takes a very hands-on approach.

-Rough areas like this,

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I had to put Polyfilla on, because it's more flexible , a lot stronger.

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A fan of Banksy, Matt will build you a wall and then vandalise it.

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He's a very practical and active artist.

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I've never been any good at drawing in itself. I've always preferred painting, making things.

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-Hello.

-This is Beth.

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Beth makes big, emotional works of art

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and sometimes gets lost in the creative process.

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It just sort of happens naturally, I don't really even notice.

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I'll apply paint with a brush and blend it in with my fingers. It's quite messy.

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But Beth doesn't mind getting her hands dirty, as long as her art is focused...on herself.

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-SHE CHUCKLES

-Excuse me!

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Art, for me, is about, you know, it's personal and you can do whatever you want with it

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and that's why I enjoy it so much.

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Barney, this is about ME!

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Just go away!

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Is he actually in there?

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Yeah.

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-BLEEP

-Redo it.

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This is Tim. He's rarely seen without a sketchbook.

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Tim kills time by sketching his thoughts

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and when he's got no thoughts, he sketches anyway.

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Sometimes I draw people, sometimes I just draw weird shapes.

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I'll sit there drawing triangles, or something.

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He's very thoughtful and serious about his art

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and is constantly looking to improve.

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To get better, you have to keep pushing yourself.

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He's found a big, expressive painting style,

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but keeps going back to his pencils.

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His precise illustrations are holding him back from a new, riskier style.

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Can he step away from the pencil pot?

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Maybe later on, I'll be able to go straight in with the paint. Is it all right if I carry on?

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Hi, I'm Ashby.

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When Ashby's not painting, she's usually found juggling a baton

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with her majorette troupe. Ashby finds a personal edge

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helps her to develop her ideas into great works of art.

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This is actually me. I did get my friend to take that one.

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Um, and that's me at the back.

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But I'm going to cut me out, because it looks like that person has two heads!

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Ashby's on a voyage of discovery into the world of oil paints

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and loves using them to create Cubist and Expressionist styles.

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I've learned you can do with a lot more with oil painting than just paint with it.

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You can smudge it, you can just to do all sorts with it.

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Ashby's recently started to experiment with a palette knife, an idea she borrowed from a friend.

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She had a good final piece, It came out effectively.

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I thought, "I'm going to steal that." I'll nab that!

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Hello.

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We've invited top artist Stuart Semple to meet the students,

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to discover how they develop their artistic ideas.

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From what I've seen, the students look great and I really can't wait

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to see more about their thought processes.

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Stuart's art is full of playful references to pop culture

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and comments on consumerist Britain.

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He's often likened to Andy Warhol, for his accessible style

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and is sought after by A-list celebrities.

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He has collaborated with Lady GaGa and the Prodigy, and has been so successful,

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he once tried to buy his own island off the Dorset coast.

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In 2005, Stuart snuck one of his own images into the Saatchi Gallery,

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to protest against the lack of British artists on display in the exhibition.

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Naughty!

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But Stuart's main aim is to make art that's accessible and fun.

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So how does a flourishing artist like Stuart continue to develop his ideas day after day?

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When I make my work, I tend to work, I suppose, a lot more like a musician,

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where I make a series of paintings that become a bit like songs or tracks on an album.

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And I suppose the initial inspiration can come from anywhere.

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I can spend months sat there when nothing happens at all

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and I'm terrified nothing's going to come and, all of a sudden,

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I'll hear a piece of music, or I'll see someone, or overhear something,

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or pick up a fashion magazine or something, and then the idea starts.

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I try not to plan every aspect of the work before I start it.

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What is developed is a concept that I want to explore before I start painting.

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But in terms of the visual element of it,

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I might only know a fraction, or at least the starting point,

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and I really believe in letting the work, kind of, dictate its own course -

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letting the time and experiments and mistakes, kind of, show me where I want to go.

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We've invited Stuart to William de Ferrers School in Essex,

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to find out how Matt, Beth, Tim and Ashby develop their artistic ideas.

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First up is football fan, Matt,

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who's borrowed some ideas from Banksy and Nigel Cooke.

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Stuart wants to know how Matt has referenced these artists in his own work.

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What do you like about Banksy's stuff? The humour of it,

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or the politicalness, or...?

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I do like the political side of it, but with Banksy, I think art isn't about sitting down

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doing a nice painting. It's about getting out in the real world

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and doing something you enjoy and something that's you.

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-I looked at Nigel Cooke.

-What do you like about him?

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He does pictures that are a lot like what I was working towards.

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Big walls, foreground in front of them, paintings on the walls.

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So where do you go from this? Looking at this one over here.

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I looked at different areas round where I live, photographed them

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and I thought from there I could push Banksy into Nigel Cooke and start spraying over the top.

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I can see that Nigel Cooke influence in this one.

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Particularly from my original inspiration of Banksy,

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I'm able to push it forward and do my own development.

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At the moment, he's, kind of, playing it a bit safe

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and he's got that, sort of, Banksy reference very firmly in his head

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and he hasn't really run into Matt's world yet.

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I think when that starts to come through, this is going to get really exciting.

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Personally, I see Banksy as a bit commercial,

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a bit derivative of a lot of other stuff.

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But I love the fact it is enthusing people to start looking at art and get involved in making images.

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A blank canvas can be a pretty intimidating sight,

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so seeking inspiration is a great way to get started.

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You can take the bits you like about lots of different artists

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and push them together in your own work.

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But you can't just steal ideas. Your art should be personal.

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Now, obviously, inspiration doesn't just come from other art,

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it comes from all around you.

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And ideas can come at the most random moments,

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so it doesn't hurt to make a note when you get one.

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Ashby's work is inspired by her recent holiday.

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She tried to show the Cubist side of New York, but got stuck.

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Stuart wants to find out how she got through her artistic block.

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I tried to see whether I preferred this kind of loose mark making

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to the really structured oil paintings,

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but this was where I did hit a massive wall.

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I just... I just sat and looked at it for ages

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and just couldn't figure out what I was doing wrong and where I could go with it.

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-So it felt like a complete dead-end with it?

-Yeah.

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-But...I did get over it eventually.

-How did you do that?

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I did a similar thing. I went right back to the basics.

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I found images I'd taken of the Statue of Liberty. They're these ones.

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How do you find working from the photographs?

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I thought it was easier. Because I'd seen the statue in real life,

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I knew I could put some of my own personality into it.

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I could visualise it whilst I was painting.

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Then you moved on to a much more ambitious one, didn't you?

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It's a really nice final piece, because it's quite concise.

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-It shows traces of your whole journey, I think.

-Yeah.

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I still see the piece that I didn't like.

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I still see the colours that I didn't really want to push,

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but I still incorporated them, just to...

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-So you got something out of it, in the end?

-Yeah.

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-I did, yeah.

-So it was definitely worth going through it.

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I hit walls in my work all the time.

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You get to a place where you just don't know where to go next.

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I do all sorts of elaborate things.

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I move studios, or not paint the three months, or do something entirely different.

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I don't want to just chuck it all in because I can't get an idea.

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But, in the end, something happens

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and you have to keep making through it.

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I don't know where she'll go next. Her oil painting skills and sense of composition is getting stronger,

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the way she's collaging these images together.

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So I think maybe that's something that will be explored more deeply next time around.

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HE WHISTLES

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Every artist hits a wall at some point in their work.

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This is when you don't like what you've made and don't know what to do next.

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When this happens, you should decide what you do and don't like about your artwork.

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Then you can just take the good bits and avoid the bits you don't like next time.

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You might find you need to research or experiment more before you start again.

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So hitting a wall is good. It makes you a better artist.

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Tim's determined to push himself into uncharted territory,

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using paint instead of pencils.

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Stuart's fascinated to find out how Tim

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is coping outside of his usual comfort zone.

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The reason why I wanted to move out of my comfort zone, with charcoal,

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and later on, paint, is because I wanted to try something new.

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Because you can't always stay the way you are, you've got to develop, evolve.

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So how did you feel? Were you a bit intimidated at first by this charcoal?

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It was something I haven't tried before,

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so I was out of my comfort zone, I didn't know what I was doing.

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You're sort of trying to make it do what the pencil did, to an extent?

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-I can't, because it is not pencil.

-It's really loosened you up.

-Yes.

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It's metaphorical and physical. I'm actually learning something, learning more about myself.

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This is my next piece.

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At this point, I was still using little brushes

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and you can see it here. I was using little brushes.

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-Yes. I mean there is a kind of fussiness.

-Yeah.

-What happened after this?

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-So I moved on to this...

-Yes.

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..which was my painting of Nat King Cole.

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It's like a total break out. You really start express.

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You're using your whole body when you paint.

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I can't use those little brushes anymore.

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No, to get that mark there, to go like that, you need so much confidence.

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-Force and...

-Because now you're totally out of your comfort zone

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and you don't mind to take a risk.

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You've got to trust yourself and go into it and just be like...whoosh!

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Whenever you're making work, you can get complacent,

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or you default back to a system of making things that works for you.

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I find that all the time with my work, where I get stuck in a rut

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and I need some way to break through it and I need to try something else.

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It is really depressing sometimes when it doesn't happen and you try and force a change.

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But, with Tim, it felt like a totally natural thing for him to do.

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I think it's just going to carry on.

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The thing I'm excited is, when he starts to discover colour properly,

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because I think there is going to be a total explosion

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of expressive, big, gestural painting that's going to be really good.

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It's easy to get stuck in a comfort zone,

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making art you're used to or good at.

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But you're bound to get bored doing the same thing all the time

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and maybe yearn for a bit of a challenge.

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But getting bored is good, if it makes you try something new.

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If you're used to drawing detailed miniatures, try big, expressive painting.

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Or if you usually have to spend our hours finessing your work,

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give yourself a time limit, so you have to work fast and furiously -

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whatever it takes to keep your creative juices flowing.

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There's nothing Beth won't use to make her experimental art.

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She's toyed with watercolours, powder paints

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and even salt, before settling on inks.

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Stuart's intrigued by what Beth has learnt from her experiments.

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I've had to be aware of the inks being really unpredictable,

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so I did two studies at the same time.

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So was that quite nerve-wracking,

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because you didn't really know what the inks were going to do?

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Um, it was, but it was quite exciting, as well.

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I just wanted to make sure that I'd experimented with every material

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that I could have - on its own and then with other things -

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just to see what different effects I could create and which ones I liked the best.

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-And then you were ready to do your final piece after that?

-Yeah.

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-This one over here.

-Right.

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Now, all of a sudden,

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-you've got a portrait. It's a self-portrait.

-Yeah.

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I suppose I was quite lucky with how that turned out, really,

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because I hadn't done a lot of experimentation.

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That's what I was going to say. It's a big risk to decide that you are going to do

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quite an accomplished, figurative oil painting of yourself, at the last minute.

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With all the materials I was using,

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I knew if I didn't like it, there would be a way of changing it.

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-So it wasn't as risky as you might have initially thought?

-Yeah.

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I must have used just about everything in my time, when I've been making my art.

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Strange stuff. At its nuttiest, maybe, lentils and spray paint

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and tarmac and feathers.

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HE LAUGHS

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And, at its most normal, kind of, expensive oil paints

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and linseed oil, maybe, and everything in between.

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But I have to go through the process of playing with everything.

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I think it's important to remain playful and explore what is possible.

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Because, you know, she's discovered a whole way of doing things

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with these materials, that she's managed to bring together

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into quite a complete and concise final piece.

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I don't think she'd have been able to do this if she hadn't endeavoured to do that other stuff.

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Experimenting is great for finding the best material to work with.

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There's the obvious materials, as well as the weirder stuff.

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Blindly experimenting might be fun,

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but it's better to know what you want from your material.

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Make a note of what's good and what's bad, in case you forget. From all these experiments,

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you'll eventually find the best material for your art.

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It might even be the material you started with.

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We've given Matt, Beth, Tim and Ashby hand-held cameras to film themselves over the next two months,

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as they develop ideas for that scary ten-hour exam.

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If they get through it in one piece, they'll get the chance to hear what Stuart thinks of their artworks

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and get to share their final pieces with friends and family at a special exhibition.

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Matt's chosen to develop his ideas around the topic of urban areas.

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He has set himself the challenge of making his work a little less Banksy and a bit more Matt,

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taking in influences a little closer to home.

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I found some quite interesting colours in the sky.

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I'm not sure if they'll come out on here,

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but they really do work with my current unit.

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I'm exploring the idea that every area

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is a rural area waiting to be revealed.

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Matt's widened his interests to include Scottish painter Jock McFadyen.

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His work has been a major influence for me.

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His ideas - sense of abandonment, urban areas and big skies -

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have helped my own work.

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My next idea was to develop the wall piece I've got here.

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This developed into my David Hepher-style piece.

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I liked the textured background of his work

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and I tried to put that into my own work.

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But he's not forgotten his favourite street artist.

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Another influence was Banksy.

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His work helped to develop these two pieces, as I like the hole in the wall idea.

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Against the clock, Matt's challenge is to put his own stamp on his work before sitting the exam.

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It's 7th of March, three weeks away from our exam,

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and I thought I'd show you the current piece that I'm doing.

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These are two pieces I've been working on at the moment,

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knocking through the wall reveals the rural area behind it.

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Taking inspiration from the red skies outside his bedroom window,

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Matt's work is finally starting to feel a little more personal.

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Ashby has chosen to develop her ideas around the theme of dance,

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something close to her heart, as a hardened majorette.

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This was the big routine that we're doing.

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I really liked it, because it was a lot of shapes I could photograph and see the movement in.

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Like Matt, Ashby also looks to an artist for inspiration -

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Edgar Degas.

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I've decided to focus on Degas,

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because I really like the way he painted.

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Ashby's very organised this time,

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doing a lot of prep work, to avoid hitting any walls.

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I realised I needed to work on my features and my hands, because they weren't very clear.

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As you can see, I did get a lot of out of these.

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These are my before and after.

0:19:000:19:02

I'm going to incorporate this kind of technique into my painting.

0:19:020:19:07

But it's not without the odd tantrum.

0:19:070:19:10

I developed this throughout all of my studies. It just kind of...

0:19:100:19:15

Oh, I don't know what I'm saying! Don't know!

0:19:150:19:18

With the final exam looming, Ashby reflects on her progress so far.

0:19:180:19:22

So it's four days to the real ten-hour exam and I am really scared.

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But I think I am well prepared for it.

0:19:280:19:32

I did a lot of prep work.

0:19:320:19:35

I didn't hit any walls, which was lucky, but, touch wood,

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I don't in the next four days.

0:19:400:19:43

Tim's chosen to develop his ideas around his family tree

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and starts by trying to find the true meaning of heritage.

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What is the meaning of your family tree? Is it where you are from

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or the life that you've been living and where you were brought up?

0:19:550:20:01

Or is it where your family is from?

0:20:010:20:02

This is a painting I'm doing right now.

0:20:020:20:04

Tim has pushed himself even further out of his comfort zone

0:20:040:20:07

by introducing colour to his artwork. But is it a step too far?

0:20:070:20:12

I found it quite difficult when I started this painting,

0:20:130:20:16

because I'm so used to using black and white.

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And I wasn't really sure what colours to use.

0:20:180:20:21

Tim's inspired by Chinese artist Zhang Yuan's snapshot style,

0:20:210:20:26

but wants to take it to the next level by adding a splash of colour.

0:20:260:20:29

I got pictures of my family and started to think of how

0:20:290:20:33

I could put them together for an overall painting at the end.

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This is a very ambitious piece. There are lots of family portraits to paint against the clock

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in the exam and Tim is already making the leap from black and white to colour.

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He's going to have to be pretty prompt to paint so many pictures in just ten hours.

0:20:470:20:52

-Hi, Beth.

-Hello.

0:20:520:20:55

Beth has also chosen to develop her ideas around the theme of her family tree

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and is being typically experimental.

0:21:000:21:02

I volunteered my friend Ellen and my friend Katie, who I'm going to paint in a minute.

0:21:020:21:08

In a way, I'm sort of creating twins out of them.

0:21:080:21:10

I'm looking at the fact that people can look so alike, but be so different.

0:21:100:21:14

Don't worry, it comes off. I tried it last night!

0:21:160:21:19

I'm just experimenting with different ways of showing their emotions.

0:21:190:21:23

She looks like she has a red beard.

0:21:230:21:24

LAUGHTER

0:21:240:21:27

OK, so this is Ellen fully painted.

0:21:270:21:30

I'm going to take a picture like did earlier. Think of something sad. Just feel depressed.

0:21:300:21:35

Beth takes photos of her painted friends to use as source material back in the art room.

0:21:370:21:41

-BETH GIGGLES

-That one's horrible.

-It's creepy, isn't it?

0:21:410:21:45

-It doesn't even look like you.

-That's extremely scary.

0:21:450:21:48

I am, sort of, halfway through this next piece that I'm doing.

0:21:480:21:54

And I'm looking at the idea of the double image or twins.

0:21:540:21:58

Yeah, I'll have to see how that turns out.

0:21:580:22:00

Unhappy with her progress, Beth changes her mind.

0:22:000:22:04

She's losing confidence in her experimental approach and abandons her work, half-finished,

0:22:040:22:08

to make a last-minute u-turn, deciding instead on a much subtler style.

0:22:080:22:13

But will Beth's late change of heart leave her underprepared for the exam?

0:22:130:22:17

With preparations complete, Matt, Beth, Tim and Ashby

0:22:220:22:25

head into the daunting ten-hour art exam to create their final piece.

0:22:250:22:31

The students have two sessions, split over two days.

0:22:310:22:34

Starting with a blank canvas on day one, they paint against the clock

0:22:340:22:38

and have to submit their final pieces at the end of day two.

0:22:380:22:42

The exam marks the end of their GCSE art course.

0:22:420:22:45

They can do nothing more after this point to improve their grades.

0:22:450:22:49

Now I've finished everything. I've done my prep work and my exam.

0:22:490:22:54

And everything went very well.

0:22:540:22:56

I think the main reason for that was all my prep work I did,

0:22:560:23:00

all the experiments.

0:23:000:23:02

Looking back, there were a few things I would have done differently.

0:23:020:23:05

Mainly, I would have done more preparation for it

0:23:050:23:09

and experimented more with ideas and stuff.

0:23:090:23:11

Looking back on the actual exam, I was quite pleased with how the exam piece went.

0:23:110:23:15

Erm, I'm glad it's all over.

0:23:150:23:19

With the exam complete,

0:23:190:23:21

it's the day of the students' first public exhibition.

0:23:210:23:25

We've invited Brit artist Stuart Semple back, to see how far the students have progressed.

0:23:250:23:29

We let him in early for a sneak preview of their final pieces.

0:23:310:23:34

First up, Stuart reacquaints himself with Ashby's work.

0:23:360:23:39

Did her thorough preparations stop her from hitting a wall?

0:23:390:23:43

It's really come on miles from the stuff I saw her do last time.

0:23:430:23:48

The way she's using her materials, there's a whole new confidence to it,

0:23:480:23:52

in the way she is applying the paint itself.

0:23:520:23:55

I think really it's just a beautiful, beautiful painting she's made. It sort of glows.

0:23:550:23:59

Next up is Matt.

0:23:590:24:01

Did he manage to finally put his own stamp on his work?

0:24:010:24:05

Matt's final piece seems so much more ambitious,

0:24:050:24:09

but I don't really see what Matt sees on his doorstep coming into this,

0:24:090:24:14

which I think it, kind of, should, really.

0:24:140:24:16

Stuart was impressed by Tim's earlier work,

0:24:160:24:19

but felt that he had a lot to do against the clock in the exam.

0:24:190:24:22

Oh, Tim, I think he's let me down a little bit here.

0:24:240:24:26

I was expecting a really big, expressive, explosive painting,

0:24:260:24:30

like the Nat King Cole one we saw before.

0:24:300:24:33

It seems what he has done is introduce the colour to the work,

0:24:330:24:36

which is his way of challenging himself.

0:24:360:24:40

Maybe it has distracted him a bit too much from the core issue, which was how he put down the paint.

0:24:400:24:45

And, finally, Beth.

0:24:450:24:48

Stuart loved her playful approach to experimentation,

0:24:480:24:51

but what will he think of her u-turn back to safer ground?

0:24:510:24:55

Beth was at a real crossroads with her work.

0:24:550:24:57

The prep work is actually a lot more experimental

0:24:570:25:01

and, in a lot of ways, for me, a lot more interesting than her final piece.

0:25:010:25:04

It seems a lot braver.

0:25:040:25:07

In the final piece, she's really reined herself in.

0:25:070:25:10

She's taken herself to the extreme and then walked back a few steps.

0:25:100:25:14

I think, maybe she's walked back a little bit too far.

0:25:140:25:18

Matt, Beth, Tim and Ashby are joined by their friends and family for the exhibition.

0:25:180:25:25

This is the first time their artworks have been on public display.

0:25:250:25:28

And the students get another chance

0:25:280:25:31

to meet their chief critic Stuart, to hear what he thinks of their creations.

0:25:310:25:35

-Ashby, you've got to be really happy with that. It's come out really well.

-Yes, in the end, I was.

0:25:350:25:41

During the exam, I wasn't.

0:25:410:25:42

-I had a few temper tantrums.

-Did you?

0:25:420:25:46

-You didn't hit one of your walls, did you?

-No, I didn't.

0:25:460:25:49

-I didn't hit any walls, luckily, this time.

-What went wrong?

0:25:490:25:52

I hadn't drawn my scale out right and the legs

0:25:520:25:56

were too long for the body and the head was too small.

0:25:560:25:59

So then I'm going, "It's rubbish, I might as well go home now."

0:25:590:26:02

-You can't tell. I can't see it.

-I managed to fix it in the end.

0:26:020:26:06

-How did the exam go?

-I think it was my best exam yet.

0:26:070:26:10

And you can see the inspiration, you can see the Jock McFadyen thing,

0:26:100:26:14

the Banksy wall.

0:26:140:26:16

Yes, I tried to put as much that I'd learned from other artists into it

0:26:160:26:20

and then develop it into my own techniques and own ideas.

0:26:200:26:25

It's a lot of freer than some of the stuff I saw.

0:26:250:26:28

In the exam, I was still experimenting on other pieces of paper

0:26:280:26:31

and I liked dripping, running down lines. Really rough.

0:26:310:26:34

-Some of this is lovely.

-Rough, like the spray paint up the edge.

0:26:340:26:37

-Laid it on thick and stood it up, so it ran down.

-That's the economy if it. It's a very quick gesture.

0:26:370:26:42

-It's quite brave to do in the exam.

-Yes!

0:26:420:26:45

I think one of the things I really love about this drawing

0:26:460:26:49

is it's still got that expressive kind of mark-making

0:26:490:26:53

gesture that I loved when I saw the other stuff.

0:26:530:26:55

When you've got to your bigger piece, it doesn't seem quite as expressive. You've reined it in a little bit.

0:26:550:27:01

When I saw the artist Zhang Yuan, I thought I'd definitely want to do that,

0:27:010:27:06

but didn't think about how long it takes to do those paintings.

0:27:060:27:10

Those paintings - it takes him a month to finish one.

0:27:100:27:13

What I found in some of the exploratory work I saw of yours

0:27:130:27:17

was these really striking, kind of,

0:27:170:27:21

quite aggressive colours, these red faces.

0:27:210:27:23

It wasn't something that I felt was really personal

0:27:230:27:26

to me, so I think that's mainly what led me away from it.

0:27:260:27:29

I think I was a bit worried about putting the ink on, then not being happy in how it turned out.

0:27:290:27:33

-Did you feel that you held back, for the sake of the exam?

-Yeah.

0:27:330:27:38

Matt, Beth, Tim and Ashby have come to the end of their journey through GCSE art.

0:27:380:27:43

They all survived that daunting ten-hour exam,

0:27:430:27:48

but how did they feel about Stuart's final feedback?

0:27:480:27:51

It's been great having Stuart look at my work, because he's been giving me the advice I wanted

0:27:510:27:56

and needed to help me develop my art style.

0:27:560:27:57

I've definitely taken it on board. I know that I need to loosen up

0:27:570:28:01

a bit more and maybe work bigger.

0:28:010:28:03

It's been interesting, but scary, having Stuart look at my work,

0:28:030:28:08

because, obviously, he is a professional,

0:28:080:28:10

so he knows what he's talking about

0:28:100:28:12

and he's shown me what my strengths and weaknesses are.

0:28:120:28:15

The experience has been excellent.

0:28:150:28:17

It's made me really confident in my own work.

0:28:170:28:19

Really encouraged me to push forward with my art and get somewhere in life.

0:28:190:28:22

It's been so nice having someone's opinion who is so successful.

0:28:220:28:27

Yeah, it's been really, really great.

0:28:270:28:29

It's been amazing meeting the students and getting to know them

0:28:290:28:32

and see how they make their work. I've enjoyed every minute.

0:28:320:28:35

I really hope they are going to carry on making their work

0:28:350:28:38

and we see one or two really strong artists come out of here.

0:28:380:28:42

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0:28:460:28:49

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