- 1 day ago
Category
📺
TVTranscript
00:00Transcription by CastingWords
00:30of Portrait Artist of the Year.
00:32More than 1,200 artists from Britain and Ireland
00:35submitted remarkable self-portraits
00:37for a chance to take part in the 12th series
00:40of Portrait Artist of the Year.
00:44This is our youngest ever artist, just turned 16.
00:47Oh, my goodness.
00:47You can't believe that someone who is 16
00:50can put together a picture that is so composed.
00:53Just 72 are through to the heats.
00:55I've only started painting not long ago,
00:57so I just cannot believe that I'm actually here.
01:00It's amazing.
01:02But will their preparation pay off?
01:05Is there anything I'm happy with at the moment?
01:06I think not very much.
01:11Are you one of these people who could go on and on and on?
01:13I would like it to end soon.
01:15I think...
01:16At stake is a £10,000 commission
01:20to create a portrait of award-winning mathematician
01:23and broadcaster Professor Hannah Fry
01:25for the Royal Society
01:26to celebrate the 80th anniversary
01:28of the first women elected to its fellowship,
01:31Professor Kathleen Lonsdale
01:33and Professor Marjorie Stevenson.
01:36On the lookout for the most exceptional talent
01:39are our judges,
01:40art historian Kate Bryan,
01:43curator Kathleen Soriano
01:44and award-winning artist Tyshan Schierenberg.
01:48The judges want a great painting.
01:50We want a great piece of art
01:51that also functions as a portrait
01:53that tells us what it is to be alive today.
01:56So, who will become
01:57the next Portrait Artist of the Year?
02:00Are you good at knowing when to stop, when to finish?
02:03I hope that I know that it's now.
02:06OK.
02:20This week, the artists vying for the sitters
02:22and the judges' approval are...
02:25..Angel Mitoff, originally from Bulgaria.
02:28From Wiltshire, full-time artist Edie Bound.
02:33Charity worker Ephraim Haywood from South London.
02:37And also based in London, artist Natalie Charles.
02:41I don't think I'm nervous.
02:44I think it's just...
02:45I just want to start.
02:48Their fellow competitors in today's heat are...
02:51..artist and art teacher Alice Hesketh from Eastbourne.
02:55North Londoner Sonia Watts, an executive assistant.
02:59Part-time graphic designer Ian Dauber from Wigan.
03:04From London, retired financier David Weeks.
03:08And Norwich-based property developer Ellis King.
03:11I'm feeling anxious.
03:14But, no, really excited now I'm here.
03:18I've got a great spot,
03:19so I think I'm looking forward to seeing who the sitter is today.
03:24As the artists prepare for a day of painting,
03:27the judges examine the self-portraits
03:30that secured their spots in the competition.
03:32Fresh, spanking new wall.
03:38Nine artists, nine new self-portraits.
03:41It feels like it has sort of the weight of this person's life on their shoulders.
03:45I think it's really beautifully painted.
03:48It also has got me thinking about Monet's water lilies as well,
03:51because of those wonderful tonal colours.
03:54What's going on here?
03:55It looks like a child's face.
03:57It does.
03:57And a younger version of himself on the right.
04:00The shirt, I think, is a tour de force.
04:02Stripes are so difficult.
04:04It's just very beautifully done.
04:07There's something really kind of fresh and vital about this.
04:09I feel he's really in our space.
04:11It must be the look in the eye that is making it feel so connected.
04:14Teeth.
04:20Mm.
04:21That's so interesting.
04:22I hadn't noticed the teeth,
04:23because I was so taken by the red of the beads,
04:27and then the red of the lips,
04:28and, of course, the hair.
04:29You fall into that wonderful hair.
04:31It's very well constructed.
04:34What an extraordinary thing.
04:35I've got to say, I lost the words.
04:37Yeah, this is so weird.
04:40You know, we have been saying for such a long time
04:42that if you can really paint in this photorealist way,
04:44you've got to find something original to do with it.
04:46You've got to push the boundaries.
04:47And this is basically a response to that,
04:49and a very strident response.
04:52So from this very large and interesting painting
04:55to this very small and interesting painting,
04:57I think it's just a jewel.
04:59It is about a fleeting glimpse moment
05:01of somebody moving through the frame
05:03or just about to move out of the frame.
05:05It's very poignant.
05:05I like this because there's something quite sinister about it,
05:11looming out of the shadow,
05:12and that ear is spectacular.
05:13Oh, it's the ear.
05:14It's so convincing.
05:19I love the bouncing around of the golden
05:22and the staining in the eye.
05:23I think that works really well.
05:24The density of the curls on one side,
05:27but then you have the suggestion of light
05:30coming through a dappled area
05:32in the bottom left-hand corner.
05:35It's about the messiness of life, isn't it?
05:36Everything's on tilt.
05:38She's mid-motion.
05:39The whole composition works incredibly well.
05:41And that boot in the mirror is just beautiful.
05:44It's a lovely bit of painting.
05:45Artists, your sitter today
05:54is one of the most recognisable faces
05:56on British television
05:57and broadcasts daily into our homes
06:00on The One Show.
06:02Please welcome author, podcast host
06:04and television presenter, Alex Jones.
06:07APPLAUSE
06:09Hi, nice to meet you.
06:16Hello.
06:17Hello, how are you?
06:19Hello.
06:20Lovely to see you.
06:21I'm so nice to meet you.
06:22Hello.
06:22How are you?
06:23Nice to see you.
06:24Ladies and gentlemen, sweet.
06:26Look at this.
06:28Ow.
06:30How are you doing?
06:31This is fantastic, isn't it?
06:34Have you got a plan in mind
06:36about how you'd like to be portrayed?
06:38I think something lovely
06:39to give to the children.
06:42Just something, I think,
06:43that captures a warmth
06:45and something that they look at
06:47and think, oh, yeah, that was Mum.
06:48We asked you to bring something
06:49that means something to you.
06:51Yeah.
06:51What have you got?
06:52I've got my watch on.
06:53Right.
06:53Mum and Dad bought it for me on my 18th
06:56and I've worn it every day since.
06:58So it would be odd not to have it.
06:59OK.
07:00And are you keen to have it in the portrait
07:02or see what happens?
07:03If you want to.
07:04Up to you.
07:05No pressure.
07:05Right.
07:08Artists, your sitter today impressed us
07:10as the writer, producer and actor
07:13of the hit BBC comedy
07:15We Might Regret This.
07:17Please welcome Kyla Harris.
07:19APPLAUSE
07:20Come and say hello.
07:34Come up, come up.
07:34Hello.
07:35Nice to meet you.
07:37Hi, welcome to you.
07:40What's your name?
07:41Nestle.
07:43What colour are your eyes?
07:45Brown.
07:45Wow.
07:49So, welcome.
07:51I felt like I was at the optometrist there for a second.
07:55Your series, you wrote it and you starred in it
07:57and you produced it.
07:59Are you a control freak?
08:00Uh, no.
08:02You know, and it was co-created, co-wrote.
08:04Right.
08:04I wish my best friend was with me here today
08:07who is the co-creator, co-writer.
08:08Okay.
08:09We asked you to bring along something
08:10that means something to you.
08:11What have you got?
08:12I have my foot.
08:14Right.
08:15In addition to my actual feet,
08:17I have a Mexican foot
08:19that was given to me by my co-creator, co-writer,
08:22Lee Getty,
08:23when she travelled to Mexico
08:24and seeing as we did the series together,
08:26it means a lot to me.
08:28Okay.
08:28We're going to bring that in later.
08:30Do you have any idea
08:30of how you'd like to be portrayed?
08:32Like Beyoncé.
08:34Like Beyoncé.
08:35Yeah.
08:35But my face will do, I guess.
08:39Artis, your sitter today
08:41is a musician
08:42whose electrifying performances
08:44have generated
08:45two UK number one albums
08:48and over six billion Spotify streams.
08:52Please welcome global sensation
08:54Youngblood.
08:56APPLAUSE
08:57Well, I can tell
09:27immediately
09:28that you're someone
09:28who fizzes with energy.
09:30Oh, yeah.
09:30It's going to be prompt
09:31to sit still, isn't it?
09:32That's what I've been thinking.
09:33Because some artists
09:34will be painting you from life
09:35and they'll want you
09:36to keep fairly still.
09:37It might be an expressionist painting
09:38so I'll be, like, blurring out, but...
09:40What are you looking for today?
09:41How are you looking to be portrayed?
09:43I always find it fascinating
09:44to meet another creative person.
09:46I find it a beautiful thing
09:47to see how someone's mind
09:49sees the world.
09:50So I think when I see it,
09:53it'll hit me
09:54in a way that you want to hit me.
09:56What have you got with you?
09:57Ozzy Osbourne gave me this cross,
09:59which is pretty mad.
10:02Well, the iconic Ozzy Osbourne.
10:04I can feel the darkness
10:05in it right now.
10:07The bat's blood.
10:07Which is, like, telling me
10:08to do naughty things.
10:11Well, there you go.
10:11You've got a fantastic sitter
10:13with a demonic necklace.
10:14Yes.
10:14Artists, the time has come.
10:21You have four hours
10:22to capture your sitters.
10:24Good luck.
10:25Your time starts now.
10:28Here we go.
10:29Right.
10:29How do you want to sit?
10:30You know, it's so funny, isn't it,
10:31when somebody says,
10:32sit naturally.
10:34Oh, God.
10:35You look quite...
10:37Don't mess with me.
10:38Sorry, are you okay
10:43if he's kind of looking
10:44a bit towards my side?
10:46Yeah, is he, like, that?
10:48I really like the side angle,
10:49so that's really good.
10:50The side angle?
10:51Yeah.
10:52I find this fascinating.
10:53I feel like I'm in a goldfish bowl.
10:55You've got a very strong look.
11:10Oh, thank you.
11:11Is this sort of look
11:12for when you go out
11:12or when you're round the house?
11:14Yeah, I make eggs in it.
11:17I'm liking the sunglasses a lot.
11:19Oh, do you like them?
11:19Yeah.
11:20I'm a bit jealous now.
11:21I want to be wearing mine.
11:22We've got the same earrings on.
11:23You have got the same earrings.
11:24I think that was mine.
11:27Edie Bound,
11:28originally from Wiltshire,
11:29is a full-time artist
11:30now living in London.
11:33Her miniature self-portrait
11:35on a wooden panel
11:36was completed in four hours.
11:39So, Edie,
11:40I was looking out for you
11:41and I was looking for someone
11:42with very bright red hair
11:44painting on a tiny, tiny canvas.
11:47Mm-hmm.
11:47No, I've come in disguise.
11:48Couldn't find either of those things.
11:50As soon as I saw Youngblood,
11:52I thought I'd go a bit bigger
11:53on this one.
11:53And I also noticed
11:54he's upside down.
11:55Yes, he is upside down
11:57at the moment.
11:58I like when I'm painting it,
11:59I don't want to see a face at all.
12:00I want to be seeing
12:01just shapes and forms.
12:04Okay.
12:04And then as soon as I can
12:05turn it around,
12:06I can start kind of painting
12:07more from life,
12:07getting the colours in.
12:09Great.
12:09I took two photos
12:21from different angles,
12:22one more side profile
12:24and one more three-quarters.
12:26and I quite like
12:27the three-quarter version.
12:29She looks a bit soulful on it,
12:31you know.
12:32So, yeah,
12:33I'm looking forward to it.
12:35Ian Dauber from Wigan
12:36is a semi-retired graphic designer
12:38who took up painting
12:40later in life.
12:42His self-portrait in acrylics
12:44is based on a photo
12:45taken in his bathroom.
12:46Ian, you use colour
12:50in a really interesting way.
12:52You're no stranger to turquoise.
12:54Yeah.
12:55I don't know why,
12:56but I think it gives you
12:57a better idea of skin tones.
12:59Do you think that helps you
13:00against your dreaded pink?
13:02It's that contrast, I think.
13:04Yeah, it works for me.
13:11I've started by ridding my canvas
13:15just to make sure
13:16that I get Alex's proportions
13:19kind of where I want them.
13:21This just makes sure
13:22that I don't make those errors
13:23that I might do
13:23if I was doing it freehand.
13:24So, yeah,
13:26gridding and drawing.
13:28Self-taught artist
13:29and property developer
13:30Ellis King lives in Norwich.
13:33In her self-portrait,
13:35entitled Desperate Housewife,
13:36the judges were intrigued
13:38by the bare-headed figure
13:40staring out.
13:45I'm a little bit surprised, Alice.
13:47Hit me.
13:48Alex has got hair.
13:49You feel you've got to do it proper today?
13:51I don't know that I'll actually
13:53paint her hair,
13:54but I think the nod to it.
13:55Okay.
13:56Alex is very warm and bubbly,
13:59and obviously my self-portrait
14:00is, I would say,
14:01maybe a bit gritty.
14:02The geometry that we saw you use
14:04in your self-portrait,
14:04which very irritatingly is...
14:06It's slightly off.
14:07God, that just makes me itch.
14:09Yeah.
14:09Why do you do that?
14:10I do that because
14:11there is an element of
14:12uncomfortableness
14:14that actually I quite like.
14:16I don't paint pretty,
14:18which is actually
14:19one of the challenges
14:19I'm going to have today
14:20because Alex is very beautiful.
14:35Kylie's a great sitter.
14:36She's got a great look,
14:38quite vampy.
14:39She's also listening to you.
14:41And she's got a good sense of humour,
14:43which is nice.
14:43I think it relaxes everybody.
14:46Alice Hesketh is an artist
14:48and art teacher
14:49who lives on the Sussex coast.
14:51Her self-portrait
14:52of a busy modern mother
14:54getting ready in the morning
14:55was inspired by
14:56Toulouse-Lautrec's
14:57backstage dressing room paintings.
15:01Alice.
15:01Hello.
15:02How are you finding all of this?
15:04So I started off quite big,
15:06and then I didn't like
15:07the composition
15:08and I thought,
15:08oh, God,
15:09I'm not going to finish it.
15:10So I've changed
15:10to a smaller size.
15:12Okay.
15:12And can you picture
15:13what this painting's going to look like
15:14at the end of the day?
15:15No.
15:17And is that a problem
15:18or is that normal?
15:19Is that normal for you?
15:20It's normal.
15:20It's normal.
15:20You know,
15:21some artists plan it all out totally.
15:22I've met lots of them.
15:23Yeah,
15:24I can't do that
15:24because it takes away
15:25the spontaneity.
15:27Okay,
15:27so it's all happening
15:28in real time.
15:29Yes.
15:29As the first hour ticks by,
15:34our artists are taking stock
15:36and considering next steps.
15:40My underpainting's going really well,
15:42so the next step
15:43is to get more details in.
15:45Most important feature
15:46to get a good likeness
15:47on a portrait
15:47is the mouth.
15:49Fingers crossed.
15:50It's got quite colorful.
15:56It's got a bit messy colorful.
15:58Organized chaos.
15:59That's where we're at
16:00at the moment.
16:05I've gone bigger
16:06than I expected,
16:07so that might put me
16:08back a little bit.
16:09That first hour flies by.
16:20Our nine artists
16:25are one hour
16:26into their portraits
16:27of our star sitters.
16:29The top streaming
16:30singer-songwriter Youngblood,
16:33television legend Alex Jones,
16:36and award-winning writer
16:37and actor Kyla Harris.
16:39Oh!
16:40It's quite rock now.
16:42It's good.
16:43Youngblood's next door.
16:45Maybe that's why.
16:46You've got to keep up with him.
16:50I'm delighted.
16:52I think she's amazing.
16:54I do watch the one show.
16:56I'm a fan.
16:58I just want to focus
16:59mainly on her face, really,
17:01so that's how
17:02I'm going to work it, really.
17:05Sonia Watt
17:06is an executive assistant
17:07from London.
17:09Her self-portrait
17:10in acrylics on canvas
17:11was based on a photo
17:12taken in Paris
17:13on her 50th birthday,
17:15which captures
17:16the bright, happy mood
17:17of that occasion.
17:18Sonia, I was taken
17:20by so many things
17:22in your self-portrait.
17:23There was that real sense
17:24of verticality,
17:25framing the figure.
17:26Oh, thank you.
17:26The bouncing around
17:27of colour.
17:28There was so much in it,
17:30but when you got ahead,
17:31you looked at that point.
17:33Tell me a bit
17:34about your thinking
17:35in that relation.
17:36I'm thinking...
17:37I call myself
17:38a slow painter, I suppose.
17:39I do take a lot of time
17:41because I often do
17:41a lot of detail.
17:42I feel it's better
17:44for me to just really
17:45focus in on
17:46the main aspect,
17:47which to me
17:48is the face.
17:49So I'm assuming
17:50your work goes
17:50through a fairly ugly phase.
17:51It goes through
17:52a very, very ugly phase.
17:54It takes a while
17:55for the person
17:56to emerge.
17:57Okay.
17:57I'm going to come back later
17:58when it looks more beautiful.
17:59Yes, when it looks
18:00more beautiful.
18:00What strikes me
18:10about the young blood,
18:11he have a little bit
18:12of like a vampire energy,
18:14dark, edgy,
18:15which I like.
18:16He's totally vibing
18:18and I couldn't ask
18:19for a better sitter.
18:20Bulgarian-born
18:21Angel Mitov
18:22is a self-taught
18:23tattoo artist
18:24who moved to Glasgow
18:25to study classical painting.
18:28His self-portrait
18:29in oils on canvas
18:30has more than a nod
18:31to the old masters.
18:35I've got a question
18:36about tattoo artists
18:37that always intrigues me.
18:38Okay.
18:39There must come a point
18:40where for the first time
18:41you put a tattoo
18:43on somebody else.
18:44Yeah.
18:44It must be nerve-wracking,
18:45isn't it?
18:46It was very nerve-wracking.
18:47Luckily for me,
18:48my mum was like very...
18:50It was your mum?
18:51Yeah, my mum was like
18:51my first customer.
18:52Your first tattoo?
18:53I remember I was like
18:54shaking more than her.
18:55It's actually similar
18:56to how I feel right now.
18:57Right.
18:58Yeah.
18:58I see a lot of similarities
18:59in the two of you.
19:00You're both fizzing with energy.
19:01Yeah.
19:02Hopefully some connection
19:03is going to happen
19:04and that's going to help me
19:05resolve my poetry today.
19:06Sure.
19:13I just am really drawn
19:15to circles.
19:16I think the circles
19:17kind of makes you
19:18think differently.
19:19We get very used to
19:19just always having a rectangle.
19:22I just like something
19:22a bit different.
19:23A little challenge.
19:24artist Natalie Charles
19:27from London
19:27was an animator
19:28who went back to college
19:30to study drawing.
19:32In her own work,
19:33she takes inspiration
19:34from everyday women
19:35from marginalised backgrounds.
19:39Natalie,
19:39I recognise this lovely
19:42feathery tondo
19:43from your submission.
19:44Tell me about what you use
19:45because I couldn't work it out a layer
19:46and I was wondering
19:47is this watercolour,
19:48is it pencil?
19:48These are tinted graphite blocks
19:50so it's kind of like
19:51a fat graphite pencil
19:52but it's got colour in it as well.
19:53Okay, so then you're using
19:54this directly onto the paper
19:56or you only transfer it
19:56with the paintbrush?
19:57Both.
19:58Ah.
19:59It's magic.
19:59It does everything.
20:00Yeah.
20:01With your submission,
20:01you really fill the frame.
20:03I mean, it's very intense.
20:04And you've done the same thing
20:05here with Kyla.
20:07Why this kind of format?
20:08Because I think
20:09when you give someone
20:10something quite punchy
20:11to look at,
20:12it forces them to stop
20:13and slow down
20:14and really look
20:15more closely than we do.
20:17I like that.
20:18It sort of demands
20:18your attention.
20:19Quietly demanding.
20:20Quiet, yeah.
20:21We'll take it.
20:24Many artists
20:25appreciate a clue
20:27to the subject's personality.
20:29So to help them out,
20:30our celebrity sitters
20:31have brought along
20:32a personal item
20:33they hold close
20:34to their hearts.
20:36So, Youngblood,
20:37I've heard you've been
20:38given something
20:38rather precious
20:39by Ozzy Osbourne.
20:40Yes.
20:41And it is your object
20:42for today.
20:43That is a very large
20:45and over-the-top
20:47crucifix.
20:48It's pretty cool, isn't it?
20:49It is.
20:49You like your jewellery,
20:50don't you?
20:50I do, man.
20:51Silver with denim,
20:53gold with, like, a suit.
20:55Okay, these are fashion notes.
20:57I will be...
20:57I'm telling you, I'll see you next time.
20:59You're going down.
21:00You're definitely...
21:01I'm telling you, I'm into it.
21:02I have got effect from people.
21:04Alex, you're a very busy person.
21:12How is it sitting so still?
21:14To be honest, I'm, you know,
21:16I'm a people pleaser
21:17and a good student,
21:18so when David said,
21:19can you just sit like this
21:20very still,
21:21I try to do my best
21:22to adhere.
21:23I can see you're really doing that
21:24and also you're showing off
21:25your object
21:26because you're wearing
21:27your object.
21:28I am.
21:28Tell us about it.
21:29This is a watch
21:30that Mum and Dad
21:30bought me
21:31when I was 18
21:32and it's been on my wrist
21:34every day
21:35and even though my focus
21:36now is obviously
21:37on my own family,
21:39having this with me
21:40sort of connects me
21:41to Mum and Dad as well.
21:42We can't guarantee
21:43it's in the picture.
21:44How do you feel about that?
21:45That's okay.
21:46I think, you know,
21:47I'm open to interpretation
21:49and that's the fun of today,
21:50isn't it?
21:51It's seeing how
21:52other people see you
21:54which is exciting
21:55and terrifying
21:56in equal measures.
21:59So, Kyla,
22:06tell me about
22:07this strange
22:08but beautiful thing.
22:10I believe it's a last
22:11that was used
22:12to mould shoes off of
22:14and it was given to me
22:15by my best friend.
22:17She brought this
22:19from Mexico.
22:20Why did she think
22:20of you
22:21when she saw that?
22:22What was it?
22:23Is it the giant ruby?
22:25Well,
22:26I think it's open
22:27for interpretation.
22:28I think it's
22:28a wonderful object
22:29and I think
22:30there's a bit
22:30of magic in it
22:31and maybe
22:32she sees that in me.
22:33But normally
22:34when you see these
22:34they are just
22:35the beautiful wood
22:37that sits underneath.
22:38I've never seen
22:38one sort of covered in.
22:39What is this
22:40that you think
22:41it's got around it?
22:41I think it's tin.
22:43I think it's a hammered tin.
22:44It's beautiful.
22:45It's really, really beautiful.
22:46Precious.
22:47I actually brought
22:50braces as well.
22:52Oh, epic, man.
22:52Did it?
22:53Where'd you get yours from?
22:54Do you know what?
22:55I'm seeking
22:55from Marks and Spencer's
22:56best one.
22:57I'm telling you.
22:58Got mine from next.
23:01I think Youngblood's
23:02a great sitter.
23:03Right now,
23:04I'm oddly calm
23:05about everything,
23:06I have to say.
23:07I was nervous,
23:07but I feel weirdly calm,
23:10honestly.
23:10South Londoner
23:13Ephraim Hayward
23:14works for a homeless
23:15charity
23:15and is a part-time
23:17carer.
23:18In his self-portrait,
23:20he used watercolour
23:21pencils to conjure up
23:22almost ghostly images
23:24of his face.
23:27Ephraim,
23:28why have you chosen
23:28this particular picture?
23:30I changed from
23:31a photo I had before,
23:32actually,
23:32to this one.
23:33Right.
23:33Because I thought
23:35this conveyed a bit
23:36more emotion,
23:37so I've had to rework it,
23:38so it's taking a bit
23:39longer than I wanted.
23:40to,
23:41but I'm still okay
23:42with it.
23:42You have to do
23:42with where you are.
23:43Yeah.
23:44It's a mixture
23:44of kind of vulnerability
23:45and attitude.
23:47Yeah,
23:47I think,
23:48nearly on the head,
23:48actually,
23:49it's that dichotomy
23:50of, yeah,
23:51the attitude,
23:51and then there's
23:52something,
23:52maybe a sadness
23:53there as well.
23:59I find it difficult
24:00getting a convincing
24:01image from a photograph
24:03because the danger
24:03for me is I start
24:04getting drawn into
24:05details.
24:06That's why I prefer
24:07to work from life
24:07and try to keep it
24:08loose and fresh.
24:11After a career
24:12in finance,
24:13Londoner David Weeks
24:15is now a full-time
24:16painter.
24:17He created his
24:18self-portrait
24:18using oils on canvas.
24:20It took him
24:21120 hours.
24:23That's 30 times
24:24longer than he's got
24:25today.
24:26I can see here
24:29that you've got
24:29the same colours
24:29that you had
24:30in the background
24:31of your own
24:31self-portrait.
24:32Yeah,
24:32so I'm just using
24:33a very simple palette.
24:34So just three primary
24:35colours and a warm
24:36white.
24:37Yeah.
24:37Because, you know,
24:37four hours,
24:38you haven't got a lot
24:39of time,
24:39and I just want to
24:40keep things as simple
24:41as I can.
24:42But I have to say,
24:43I've got a lovely
24:43pose here.
24:44You have.
24:44And you've got
24:45direct gaze.
24:46Presumably,
24:47that sort of gives you
24:48an advantage in some way
24:49because they start to build
24:50a deeper connection.
24:50just by looking.
24:53It's looking very beautiful.
24:54The colours are just
24:55like candy gorgeous.
25:01It's nearly halfway
25:02through the four-hour
25:03painting challenge,
25:04and it's not just the
25:05artists who are feeling
25:07the strain.
25:08No one's doing
25:09your arms, apparently.
25:10Good.
25:11Because it's going
25:12to fall off soon.
25:17It's not progressing
25:19how I thought it was
25:20going to progress.
25:21So, yeah,
25:21I just need to slow down
25:23a little bit and kind
25:23of meditate and get it
25:25as accurate as possible.
25:28Is there anything
25:29I'm happy with at the
25:29moment?
25:30I think not very much.
25:34Don't worry, David.
25:35It's going to be fine.
25:47Time is marching on,
25:49and our nine artists
25:50are doing what it takes
25:51to perfect their portraits
25:52of TV presenter
25:53Alex Jones,
25:55pop star Youngblood,
25:57and writer and performer
25:58Kyla Harris.
26:00So, Ian,
26:00what's your main medium?
26:02Acrylic.
26:03Always?
26:04Always, yeah.
26:05I like how they dry fast.
26:07You can, like,
26:07put another layer on it
26:08quickly.
26:09It suits my style.
26:10Well, you know,
26:11I don't even know
26:11your style yet.
26:13You will.
26:13I'll be singing soon.
26:15Yeah.
26:17Well, we're not short
26:18for personality
26:19in our sitters today.
26:21Alex is a wonderful sitter,
26:22isn't she?
26:23I think what's really
26:23great about Alex is
26:24she's able to pose
26:26with a warmth,
26:27and so as a consequence,
26:28you're getting that warmth
26:29in the pictures,
26:30particularly Sonia.
26:31I mean, she's got Alex
26:32smiling in that picture.
26:34The jawline's not quite there.
26:35It needs softening,
26:36but she knows the likeness
26:37isn't perfect
26:37and just needs to build up
26:39the portrait with paint.
26:41Alice, on the other hand,
26:42I mean, I think she's really
26:43wrestling with that idea
26:44of how do you incorporate
26:46your own stylistic preferences
26:47with trying to paint someone
26:49in the way in a style
26:50in which you think
26:51they would like to be portrayed.
26:53What about David?
26:54I'm just gutted for him
26:55because he's really struggling
26:56with the likeness,
26:57but it's a great painting.
26:58It is a game of sort of
26:59chasing it, capturing it,
27:01and then get the whole painting
27:02to evolve without losing it.
27:03If you can get the likeness,
27:04it will be one to beat.
27:06Youngblood,
27:07what a fabulous sitter.
27:09Edie just looked
27:10at that sideburn swoosh
27:11and went,
27:11that's one lovely swoop
27:13of the brush.
27:14He's made for Edie,
27:16and she very quickly
27:17caught Youngblood,
27:18and it was just
27:19the cursory drawing
27:20of the eyes,
27:21and there was a speed
27:22of mark around the hair.
27:23I don't quite understand
27:24why she went so big.
27:26Ifrah has left a lot
27:27of negative space
27:28in his portrait.
27:29I just found him
27:30fascinating to watch
27:31because he's got
27:32some really interesting tools.
27:33He's got a pencil
27:33sort of with a brush attachment.
27:36And isn't it interesting
27:37that when you have a sitter
27:38with such pronounced features,
27:41yet the delicacy of the pencil
27:43is still somehow
27:44managing to get that?
27:45You would say that Angel
27:47and Youngblood
27:48have a similar kind of energy.
27:50Is that translating
27:50into a good portrait?
27:51I've been watching
27:52Angel's painting evolve,
27:54and he's very contemporary.
27:55Youngblood's very contemporary.
27:56And in a funny way,
27:57he's made Youngblood
27:58look like a vampire,
27:59which is already a throwback
28:00as an idea,
28:01as a legend.
28:02So there is an old-fashionedness
28:04coming through
28:04in the stylization
28:05of his sitter.
28:07Kyla's a very generous,
28:08chatty, warm presence.
28:10It's interesting.
28:11She's engaging the most,
28:12I think, with Alice,
28:12who's directly in front of her.
28:14It's big, it's bold,
28:15just like Kyla.
28:16It'll be interesting
28:17to see if she gives us
28:18something closer to reality
28:19or something that still
28:20sits within her style.
28:22I love the way
28:22that she occupies the space.
28:23I love the translucency
28:25of the clothing.
28:26It really felt like her
28:27very quickly.
28:29Natalie,
28:29her process is really interesting.
28:31She did really well
28:32at the beginning.
28:33Now she's trying
28:33to give the tondo
28:34a bit of dynamism
28:35by putting Kyla to the right
28:37and suddenly run out of space
28:38to make a better likeness,
28:40I think.
28:41What about Ian?
28:43I like Ian's head of Kyla.
28:45There's a kind of luminosity.
28:47It's kind of interesting
28:48that he's used the same
28:49light turquoise background
28:50as he did for his self-portrait.
28:52I think that turquoise is great.
28:54I think it's a really clever device.
28:55It's very cool
28:56and it's great to put the skin against.
28:58It adds to the likeness
29:00of her character
29:00and her sort of
29:01breeziness and openness
29:03and I think that's very beautiful.
29:09It's a huge privilege
29:11to have these three
29:12working so hard
29:12to try and capture me.
29:14I feel really lucky
29:16but I think David
29:17looks quite pained.
29:19I think he's under
29:19a lot of stress.
29:21I'm willing him
29:21to do really well
29:22and be happy with it.
29:28Angel was covering his eye
29:29which was bizarre.
29:31I don't know why
29:32I'm going to ask him afterwards.
29:33He's literally covered his eye
29:34then did that
29:36then did this
29:36then did that.
29:37Don't know man.
29:39Trippy.
29:40I'm into it.
29:41I'm feeling very aware
29:46of my face
29:47for the big reveal
29:48because I have been known
29:51to have quite an expressive face
29:52and imagine if I just went
29:54when they turned the paintings around.
29:57So I'm practicing in my mind
29:59just being like
29:59but no
30:01all jokes aside
30:02I think I'll just
30:02I'm really looking forward to it.
30:06Natalie
30:06something's shifted
30:07and it's become
30:09more complete suddenly.
30:10Is the new colour doing this?
30:12I think it's helped.
30:13It's sort of
30:14just helped bring her forward
30:15a bit more.
30:16It's made it pop a bit more
30:17and then I've gone back
30:18to my trusty coloured pencils
30:20just to really deepen
30:21certain bits
30:22that I can't do.
30:23She's coming to focus
30:24hasn't she?
30:25Are you one of these people
30:25who could go on and on
30:26and on and on?
30:27I would like it to end soon.
30:28I think
30:29I'm...
30:30Okay.
30:35You don't have an awful lot
30:36of time left
30:37you know
30:37coming up to the last hour.
30:39You've got the shirt open there
30:41so the necklace is there
30:42in reality
30:42but I can't see it
30:43in the painting.
30:44I will definitely include it.
30:45It's very important
30:46for our sitters today.
30:47And are you going to do that
30:47right at the end
30:48or are you going to
30:48concentrate on the face first?
30:49Yeah I'll do it at the end
30:51because jewellery is tricky
30:52like if you give it
30:53like too much attention
30:54it can take off
30:54from the actual portrait.
30:55I want to be here
30:56to watch that necklace
30:57come in
30:58at the 11th hour
30:58that'll be exciting.
31:01Half an hour to go
31:02and one artist
31:03has had a change of heart
31:05and colour.
31:08The background
31:09is red
31:10so I've done it red.
31:12But for some
31:13late changes
31:14are too risky.
31:16I'm not going to do
31:16anything drastic
31:17in case I mess it up
31:18so we'll see
31:19we'll see.
31:24I think I need
31:25to add Alex's neck.
31:26Sorry Alex
31:27there's a sentence
31:27you never thought you'd hear.
31:38The artists are racing
31:39to finish their
31:40four hour challenge.
31:42Committing to canvas
31:43writer, director
31:44and actor
31:44Kyla Harris
31:45TV presenter
31:47Alex Jones
31:48and musician
31:49Youngblood.
31:51What have you got
31:51left to do?
31:52It's just those
31:53like final tweaks
31:54I don't want to push it
31:55and I don't want to lose it.
31:57Don't panic
31:58but five minutes to go.
32:00My mental must
32:03at the moment.
32:08Not a huge amount
32:08of time.
32:09I'm going to do
32:10a blue chunk
32:10down the bottom
32:11just to mark
32:12her jeans.
32:18Prepare yourself.
32:19It's going to be great.
32:23One minute.
32:24One minute.
32:24That's it.
32:36Your time is up.
32:37Please stop what you're doing
32:38and step away
32:39from your easels.
32:40I've got to paint
32:46your hands.
32:51We did it.
33:00How was it?
33:04It was
33:05absolutely
33:06fantastic.
33:07I mean,
33:08thank you so much
33:09the three of you.
33:10Any idea
33:10what's waiting for you
33:11on the other side
33:12of those canvases?
33:13I've been sort of
33:13looking at their
33:14self-portraits
33:15and I think
33:16that is probably
33:18a little bit
33:19of a clue.
33:20Come on then.
33:21Come on, gang.
33:22Come on.
33:22Here we go.
33:23Can I ask you please
33:24to turn your easels?
33:28Oh my gosh.
33:32Gosh,
33:33it's amazing
33:34to see yourself.
33:37How have you
33:38managed to do
33:39this
33:39in four hours?
33:41Can we?
33:42Yeah.
33:42I'm just desperate.
33:43Let's do it.
33:45Okay.
33:46Sonia,
33:46I want to touch you.
33:48Is that okay?
33:48Yes, of course.
33:50I think you've
33:51really captured me.
33:52How can anybody
33:54paint dyes like that?
33:55You've done
33:56such a lovely job.
33:57I love it.
33:59It hell is.
34:01Oh my goodness.
34:02So I looked at yours
34:03for ages
34:04and it's so
34:06abstract and graphic
34:08and I thought
34:09they'd be the same
34:09and you've done that.
34:11It's so different
34:12to anything
34:12I've seen before.
34:16David.
34:17I mean,
34:18you've worked so hard.
34:20I've got pagey hands.
34:22It doesn't matter.
34:22It doesn't matter.
34:23You've worked so hard
34:24and oh my goodness.
34:26I love how you've used
34:27all the colours
34:28and they've come
34:28into the shirt as well.
34:30It's cruel, I know,
34:31but we're going to
34:32make you choose one.
34:33What if I just did
34:34a month with each
34:35and then...
34:36Then how are the audience
34:38fixed for the next
34:39three months?
34:41I think, though,
34:43that ultimately
34:46I'm going to choose
34:47Ellis.
34:54I didn't see you
35:01the whole day.
35:02No.
35:02Every 20 minutes
35:03you'd be like,
35:04hello.
35:04I'd be like,
35:05oh, there he is.
35:06Should we do it?
35:06Oh, man, all right,
35:07then.
35:07You ready?
35:08I'm actually stressed.
35:09Sit down, sit down.
35:10We don't need you
35:10standing up.
35:11Sit down.
35:12Okay, here we go.
35:14Artists, can I ask you,
35:15please, to turn your easels?
35:23Whoa.
35:26Wow, that's cool.
35:28Completely different.
35:31This is crazy.
35:32You want to have a look?
35:33It looks like you want
35:33to have a look.
35:33Let's go and have a look.
35:37Look at this.
35:37dark,
35:38dark, brooding character.
35:38That's what I'm saying.
35:39I'm into the colour.
35:40I love the darkness.
35:42Like, I could put that
35:43in my house, 100%.
35:45You know what I mean?
35:46Where?
35:47In your house?
35:50Just to, probably the toilet,
35:51just to mess with people.
35:53Aussie's cross, man.
35:55It will go good next to me gargoyles.
35:57Thanks, Angel.
36:00Thanks, Angel.
36:00Thank you, Angel.
36:01Brilliant.
36:02Ephraim.
36:03I like that you changed
36:04the suit colour.
36:05I think I've got to get
36:06myself a white suit.
36:09Epic, man.
36:10That's killer.
36:13ED.
36:14Sick.
36:15Look at the hair.
36:17Earring?
36:18What?
36:18It's like a photograph.
36:20I find you guys, like,
36:22you're aliens, man.
36:24Thank you, Eden.
36:25Epic.
36:26What a vibe.
36:27Three portraits,
36:28but you can only take
36:28one of them away with you.
36:30Oh, what?
36:31I know which one
36:33I want to take away.
36:34Okay.
36:34Because it's my personal style.
36:36Right.
36:38I want to take that one away.
36:40Angel.
36:50Any clue as to what's
36:51waiting for you
36:52on the other side
36:53of those easels?
36:54Well, okay.
36:55I feel like Natalie
36:56has a drawing.
36:57I don't think
36:58that's going to be a shocker.
37:00The other two
37:01are probably paintings.
37:03Well, let's find out,
37:04shall we?
37:05Artists,
37:05can I ask you, please,
37:07to turn your easels?
37:15Whoa.
37:15Whoa.
37:16They're so different.
37:20Cool.
37:21Right.
37:21Let's have a closer look.
37:23I feel like
37:24you've put a lot
37:25of yourself into this
37:26somehow,
37:26and that really means
37:28a lot to me
37:29because I always feel
37:30like portraits are never
37:31entirely about the sitter,
37:33right?
37:33It has a lot of movement
37:35in it,
37:35like a wistful movement
37:36within it as well.
37:38Brilliant, Natalie.
37:39Thank you so much.
37:41And Alice.
37:43I really love
37:44your treatment
37:45of the sheerness
37:46of the top.
37:47I, like,
37:48very much see my eyes.
37:50I mean,
37:50they're hard to miss.
37:51They're a bit, like,
37:52Bambi sometimes.
37:53Thank you, Alice.
37:54Brilliant.
37:55Thanks.
37:57And Ian.
38:02Oh, I don't know
38:03why this makes me
38:04a bit emotional.
38:04I think I see
38:09a lot of sadness.
38:11I see the
38:12resilient part
38:15of me in this,
38:16which makes me think
38:18that you've probably
38:18gone through a lot, too.
38:23And maybe that's
38:24what you saw
38:24in me.
38:26And just...
38:27Oh, come here.
38:29Come on.
38:30Oh, come on.
38:31I'm so sorry.
38:36My pleasure.
38:37Oh.
38:40It's still looking
38:41kind of hot, though.
38:42Yeah.
38:43Definitely.
38:44Definitely.
38:45Yeah.
38:46I didn't think
38:47I was going to be a person
38:48that was going to cry
38:48on this.
38:49Me, too.
38:50Yeah.
38:52Thank you, Ian.
38:54Right.
38:55What do you want
38:55to do with me now?
38:56I don't know.
38:57Maybe...
38:57Maybe we could all
38:59just go to the pub
39:00or something.
39:02You've got three.
39:04You can take one with you.
39:06But just one.
39:08But I can't.
39:08I can't.
39:09But you have to.
39:12I think I have to go
39:13with Ian's.
39:24While our artists
39:27can finally relax,
39:28the judges
39:29must get down
39:29to business.
39:31I think Edie
39:32really caught
39:33Youngblood's
39:34sort of,
39:34I don't know,
39:34half rock star,
39:36half matinee idol,
39:38and all done
39:39with real brevity
39:40and lovely touches,
39:41like the little,
39:42the redness of the eye.
39:43You understand
39:44that's a real eye
39:45that you're looking at.
39:47I've got to say,
39:48Youngblood,
39:49what a fantastic model.
39:50His face is just
39:51a wonderful thing
39:51to work with,
39:52and Ephraim,
39:53you know,
39:53got that.
39:54The pouch,
39:55and look at the way
39:56the sunglasses
39:57are just syndicated.
39:58I mean,
39:58that's cool as well.
40:01Obviously,
40:01you commend Angel
40:02from working
40:02entirely from life.
40:04I really will say
40:05that there's a darkness
40:06to this
40:07and a kind of
40:08vampiric sophistication.
40:10I just wish
40:10the likeness
40:11was stronger.
40:15I love the colours
40:16that David found.
40:18It's a beautiful painting.
40:19I love the mark making.
40:20I like the building up
40:21of the portrait.
40:22But there really
40:23isn't enough
40:24of her there.
40:26Ellis really
40:27can get a likeness.
40:29She's done something
40:30here that's got
40:30warmth to it.
40:32I feel like
40:32I need a little bit
40:33more in the body.
40:35The hands
40:35and the jeans work.
40:36It's just
40:37this sort of
40:38pencil angular outline
40:39isn't strong enough
40:40for me.
40:42Sonia's caught
40:42a very lovely Alex.
40:45There's a softness
40:46to her face.
40:47There's so much
40:47warmth coming from her,
40:49and I love it
40:50for the expression
40:51really.
40:51I think the expression
40:52overrides everything else.
40:55It's kind of interesting
40:56seeing Ian work.
40:58He's got this
40:58magical touch
40:59where he puts down
41:00very little
41:01and it says so much.
41:03These weird brush marks,
41:04they seem to be
41:05very abstract
41:06and sit on the surface,
41:07but they come together
41:08beautifully.
41:10There's a lovely
41:11freshness, isn't there?
41:12A lightness to the way
41:12in which Alice works.
41:13Lovely, loose treatment
41:15of the hair
41:16and the jewellery
41:17and this wonderful
41:18sense of benign calmness.
41:21Natalie was curious
41:22because she's quite
41:24sort of fixated
41:25on this medium
41:25that she's got,
41:26but actually I really
41:27enjoyed it when she
41:28started to put in
41:29these blue tones
41:29into the hairs,
41:30beautifully observed.
41:31I got a feeling
41:32that it would be
41:33an even better picture
41:34with just a little
41:34bit more time.
41:40I didn't realize
41:41how many great
41:41pairs of lips
41:42we had today.
41:43They're all
41:44really luscious
41:45and full.
41:47But out of all the lips
41:48I think that one
41:48is the best
41:49from my point of view.
41:50Yeah, I think
41:51that's incredible likeness.
41:52It's got to go
41:52through that one.
41:53This doesn't have
41:54a likeness at all
41:54for me yet.
41:55With the sitter gone
41:56and now you see it
41:57you think it's not
41:58them.
41:59Then this one
41:59isn't a direct likeness
42:01and yet it embodies
42:02the spirit of the person
42:02and we would be able
42:03to recognize the sitter.
42:05Yeah, that one for sure.
42:06So we've got those two
42:07we need one more
42:08and I think probably
42:09this one, don't you think?
42:11That's a nice three.
42:13Artists, it's been
42:15a fantastic day.
42:17Thank you for all
42:17your hard work
42:18and thank you
42:18for your creativity.
42:20After careful considerations
42:21the judges have arrived
42:22at a shortlist
42:23of three.
42:25The first artist
42:26is Ian Dauber.
42:35The second artist
42:37is Alice Hescoff.
42:45And the third artist
42:47to be shortlisted
42:48is Edie Bown.
42:51Well done.
42:58Just a great experience
42:59really memorable
43:00and I'm just very
43:02honoured to have
43:03been chosen
43:04to be part of it
43:05really.
43:07Interesting shortlist.
43:08Thoughts?
43:09Well I'm really pleased
43:10because the people
43:11I didn't want to
43:11overwork their pictures
43:12didn't overwork
43:14their pictures.
43:14You were worried
43:15that Alice might
43:16overwork her piece
43:17and she obviously
43:18didn't because
43:19you picked her.
43:20You thought Ian
43:21needed quite a bit
43:22of work to be done
43:22and he obviously
43:23did it.
43:23He did something
43:24that threw the painting
43:25in a completely
43:26different direction
43:27by adding the red.
43:28And I thought it
43:28became a more
43:29successful painting
43:30because of it.
43:30One always thinks
43:31you know the eyes
43:32being the windows
43:33of the soul
43:33but actually I think
43:34the likeness
43:35sits in the mouth.
43:36You know we
43:37communicate with our
43:38mouth.
43:38We eat with our mouth.
43:39The mouth is
43:40how we express
43:41our personality
43:42and Ian understands
43:43that.
43:43And then Edie.
43:45Both paintings
43:46were quite slight
43:47in some ways
43:47aren't they?
43:48I think for Edie
43:49the brevity
43:49of the mark making
43:50is actually
43:51the important thing.
43:52There are some
43:53glorious touches
43:53in there.
43:54The cross is only
43:55half seen
43:56but you know
43:56it's there.
43:57The shadow
43:58underneath that earring
43:59is just such
44:01a delicate little thing
44:02but it just
44:02pings beautifully
44:04and the red lining
44:05of the inner eye.
44:07The paint sits
44:08very quickly
44:09and lightly
44:09on the surface
44:10and gives...
44:10What do you mean
44:11by that?
44:11The paint sits
44:12quickly and lightly
44:13on the surface.
44:13Don't you
44:14understand?
44:14No.
44:15So the artist's
44:17signature
44:18or their style
44:19is actually
44:20the way they
44:20touch the canvas
44:21or the surface
44:22is the way
44:22they put paint on
44:23and in Edie's
44:24case there's a
44:25kind of speed
44:25and lightness
44:26to it.
44:27Okay.
44:27And finally
44:28Alice who
44:29gave us
44:30that great sense
44:30of movement
44:31in her submission.
44:32Very similar
44:32colour palette
44:33today.
44:34Yeah and also
44:35I think what's
44:35similar is the
44:36way that there's
44:36an awful lot
44:37of rhythmic
44:38paint going down
44:38these rich colour
44:39tones
44:40and some sketchy
44:40marks
44:41but when you
44:42get to the eyes
44:43she really
44:44really pulls
44:45focus
44:45and for me
44:46anyway it's
44:46in the eyes.
44:47She does introduce
44:48these strange
44:49moments of colour
44:49if you look at her
44:50face and in her hair
44:51you've got a similar
44:52use of an odd colour
44:53that suddenly appears.
44:55I mean essentially
44:56they feel like bruises
44:58don't they?
44:58I think they're wonderful
44:59magical bruises
45:00and you've got Kyla
45:02looking into the
45:02distance
45:03you know
45:03imagining a future.
45:05Who's it gonna be?
45:08Who is it gonna be?
45:09Don't know.
45:09Right.
45:14Ian,
45:14E.D.,
45:15Alice
45:15it's been an absolute
45:16privilege watching you
45:17all work today
45:18but as you know
45:18only one of you
45:19can go through
45:20to the semi-final.
45:21the artist
45:22the judges
45:23have picked
45:23conjured a striking
45:25portrait
45:26with a lightness
45:27of touch
45:28and that artist
45:30is
45:31Edie Bau.
45:36Crazy.
45:52I didn't expect
45:53that at all.
45:54I don't know
45:54how to react
45:55in that situation
45:56you're just kind of
45:57looking like
45:57not me.
45:58It meant a lot
45:59and it was quite
46:00overwhelming.
46:02I think it's been
46:02one of the best days
46:03of my life so far.
46:05I think I did a good
46:06painting so
46:06that's a bonus
46:07made the sitter cry
46:09she made me cry.
46:13I'm always impressed
46:14when young artists
46:15go out on a limb
46:17but they still nail it
46:19with the lightness.
46:21We see artists
46:22struggling with lightness
46:23all day long.
46:24This wasn't a problem
46:25for Edie.
46:26She could concentrate
46:27on the painting
46:28the art aspect of it
46:29and that's what we want.
46:31If you want to find out
46:32more about the competition
46:33and the artists featured
46:35visit our website
46:36skyartsartistoftheyear.tv
46:39www.sedire.co.uk
Recommended
44:47
|
Up next
1:13:51
1:07:55
1:03:25
42:24
49:08
45:11
41:43
28:47
48:39
40:46
1:23:32
43:21
43:01
41:31
1:23:42
42:01
43:59
42:31
21:01
44:09
43:59
47:18
41:31
Be the first to comment