Portrait Artist of the Year Season 12 Episode 4

Reality Insight Hub

Portrait Artist of the Year Season 12 Episode 4  #PortraitArtistoftheYear #RealityInsightHub   🎞 Please subscribe to our official channel to watch the full movie for free, as soon as possible. ❤️Reality Insight Hub❤️ 👉 Official Channel: https://www.dailymotion.com/TrailerBolt 👉 THANK YOU ❤️❤️❤️❤️❤️

Transcript

00:00Hello. All of today's submissions feature faces only, so which artist will rise head and shoulders above the rest?

00:23Welcome to Portrait Artist of the Year.

00:26In the last heat, Katie Jones' realistic approach to creating a classical yet psychological portrait of presenter James May captivated the judges.

00:37It's amazing, but it was definitely not expected. So I'm going to have to really up my A-game, I think.

00:42So who will be the fourth artist to earn their place in the semi-final?

00:56The artist competing for the £10,000 commission to paint award-winning mathematician and broadcaster Professor Hannah Fry for the Royal Society

01:07to celebrate the 80th anniversary of the first women elected to its fellowship, Professor Kathleen Lonsdale and Professor Marjorie Stevenson are

01:18an art teacher from London, Cornwall-based bookseller Jules Manson, gallery production and studio manager Chloe Barnes, who lives in London,

01:29and Tamika Waller, an events coordinator living in Nottingham.

01:33I'm feeling slightly nervous. I didn't sleep very well last night, but I am powered by coffee today, so I'm ready to go.

01:44Also getting ready to take part in today's heat are...

01:48Jamie Stewart, a full-time artist from Leeds, Brighton-based printmaker Suzanne Smith, artist assistant Curtis Valentine from London,

01:59Madeline Payne, a full-time artist who lives between Florence and London,

02:04and Loughborough-based commercials director David Wayman.

02:08The anticipation is high. I'm really keen to get going. We're set up, we're ready to go.

02:12I want to get in and start working, really.

02:15Deciding which artist will make it through to the semi-final are the judges.

02:20Art historian Kate Bryan.

02:23Curator Kathleen Soriano.

02:26And award-winning artist Tyshan Schierenberg.

02:32So it's the wall. We have nine artists that have survived your rigorous selection process to be here today,

02:37starting with this gentleman.

02:40You've got all these very different types of mark-making,

02:42and I'm wondering if the whole thing is held together by this quite sensitive color palette and expression.

02:51This is an extraordinary bit of painting and also what a human presence.

02:55The way the paint is put down on the face is so tender.

02:58Mmm.

03:01This looks like a still from a movie.

03:03A movie about Vincent van Gogh, maybe.

03:05Oh, yeah.

03:06It's very brooding, bordering on slightly menacing.

03:08It feels like the figure that we see closest to us isn't the same as the figure in the mirror.

03:14It's like he can't look at himself.

03:16Yes.

03:17What has he done?

03:18This feels as much a portrait of a scarf as of the artist.

03:26It's delicate.

03:27The coloration is beautiful.

03:28And the whole thing is held together by that rather sinister side eye.

03:32I bet that surprised possession, that scarf.

03:34Yeah.

03:38Another piece, it could be a frame from a movie.

03:41This extreme close-up.

03:42Mmm.

03:43I mean, the crop is fantastic.

03:44And, of course, that cinematic letterbox works very well.

03:48Mmm.

03:49I think the skin underneath that left eye is just beautifully drawn.

03:56This feels Dutch.

03:57Yeah, the rough color is contributing to that, isn't it?

04:00It's a contemporary picture using a historical language.

04:03I think this is someone who's been quite classically trained to produce work like this.

04:11He looks serious.

04:12Yeah.

04:13He means business.

04:14And it's another Vincent van Gogh painting reference.

04:15When I came across it, I felt, I wish I was at the studio.

04:18Yeah.

04:19There's something about being able to get excited about the painting in it.

04:23I love this.

04:24It feels hurried, but also carefully put together.

04:29It really is glowing, isn't it?

04:30Lovely.

04:32And finally, a monoprint with black charcoal.

04:36What's nice is you get these strange marks, and it's got a great vitality to it.

04:40It'll be interesting how they're going to pull the image today, because I don't see a printing press around.

04:45Also, you can imagine the artist covered in ink at the end of it, are you?

04:48Mmm, yeah.

04:49It looks like a messy process.

04:50Yes, it is a messy process.

04:51Watch out for your seat today.

04:52Yeah.

05:01Artists, your sitter today is an actress who has trod the boards at the Royal Shakespeare Company, the National Theatre, the Royal Court, the Young Vic, the Globe, to name but a few.

05:12She's also appeared in a little show called Bridgerton.

05:16Please welcome Adjua Ando.

05:18Hello.

05:19Hello.

05:20Hello, darling.

05:21Nice to meet you.

05:22Hello.

05:23Hello.

05:24Hello.

05:25Hello.

05:26Nice to meet you.

05:27Nice to meet you.

05:28Hello, darling.

05:29Nice to meet you.

05:30Hello, darling.

05:31Nice to meet you.

05:32Hello.

05:33Hello, you.

05:34You all right?

05:35Yeah.

05:36Well.

05:37Great.

05:38Welcome.

05:39Thanks very much.

05:40So, we're here at the Bassey Arts Centre.

05:41Have you ever been to the Bassey Arts Centre before?

05:43Mmm.

05:44Yes.

05:45I had a theatre company here in the 80s and 90s and I met my husband here.

05:50They used to have a bookshop just as you come in at the main entrance and he gave me discount on books.

05:54Oh, there you go.

05:55What can you do?

05:56Love at first sight.

05:57Love at first sight.

05:58Yeah.

05:59We asked you to bring along something that means something to you.

06:00I did.

06:01What have you got?

06:02So, this is called an Aware set.

06:04So, my husband and I regularly take it on holiday and there's Aware wars at tea time.

06:10Right.

06:11Yeah.

06:12That means he wins.

06:13Well, he didn't know anything about it.

06:14I taught him.

06:15He wins then.

06:16That means he wins.

06:17Yeah.

06:18Yeah.

06:19Okay.

06:20Artists, your sitter today is an award-winning broadcaster known for her work on BBC Radio

06:25One's Live Lounge and the Make Me A Mixtape podcast and as host of the Brit Awards.

06:32Please welcome the vivacious Clara Ampho.

06:35Hello.

06:36Hi.

06:37Nice to meet you.

06:38Hi.

06:39Nice to meet you.

06:40Hello.

06:41Hi.

06:42Nice to meet you.

06:43Hi.

06:44Nice to meet you.

06:45Hi.

06:46Lovely to meet you.

06:47Hi.

06:48Nice to meet you.

06:49Hello.

06:50Hi.

06:51Nice to meet you.

06:53Good to see you.

06:54What a treat.

06:55Welcome.

06:56Thank you for having me.

06:58I am delighted to be here.

07:00We asked you to bring along something that means something to you.

07:03What have you got with us?

07:04This is my wonderful dad, Manny's watch.

07:07He sadly passed away, so this is a proper keepsake for me.

07:11Yeah, I love it.

07:12Have you got anything in mind?

07:13Obviously, you've seen there's a whole variety of styles.

07:16I mean, I love bright colours.

07:18I love, like, strong shapes.

07:20Whatever you feel like, you go for it.

07:23There's a lot to work there with that.

07:24Yeah, absolutely.

07:28Artists, your sitter today is a singer and songwriter

07:31whose blend of gospel, pop and indie

07:34has received critical acclaim

07:35and secured her three Brit nominations.

07:39Please welcome the audaciously talented Kat Burns.

07:50Hi.

07:51How are you doing?

08:02I'm good.

08:02How are you feeling about four hours sitting here?

08:05I'm scared.

08:05Are you?

08:06Yeah.

08:07I am such a fidgeter, even now.

08:09Right.

08:09The artists are all thinking, oh, no, we've got a fidgeter.

08:12Yeah, I'm a mover.

08:13We ask you to bring something that means something to you.

08:15What have you got with you today?

08:17I have got a lovely ring with a tiger's eye crystal on it

08:20because it promotes self-confidence

08:22and protects you from negative energy, and I love that.

08:25Will you be using today to sit there and do some writing

08:28or will you just going to switch off?

08:30I'll probably just disassociate.

08:31Right.

08:32And try not to fidget.

08:33And try not to fidget, exactly.

08:34Good luck.

08:42Artists, your challenge is about to begin.

08:44We can't wait to see what you're going to produce.

08:46Wish you the best of luck.

08:47You have four hours.

08:49Your time starts now.

08:51You're okay if we take some photos?

08:52Go for it.

08:53Is it okay if I get quite close?

08:54All good, yeah.

08:55Sorry, two seconds.

08:56No worries.

08:57Can I get you to wear the ring?

09:00Yeah.

09:00Holding it up like that.

09:02Yeah, that's good.

09:04Is there a rule about what you paint?

09:06No.

09:07So you can go from feet to head or an elbow

09:09or whatever you want to paint?

09:10Yeah.

09:11Cool.

09:11Or an eye.

09:12Or an eye.

09:13A nostril.

09:14Yeah.

09:34I'm doing a three-quarter, the technique that I'm using, we call it like a doodle grid.

09:56They'll be my anchor points for my drawing.

09:59I can never stick to one's style, so I like to try and incorporate them into my own painting.

10:05Jamie Stewart is a full-time artist living in Leeds.

10:08His self-portrait, created using oils, acrylic, pencil and spray paint, relates to being a new parent and is aptly titled Tired.

10:17Jamie, how did you arrive at this way of making art?

10:21I've come here from lots of different angles, really.

10:23I like to do abstract painting.

10:25Yeah.

10:25I'm also a graffiti artist.

10:26Right, okay.

10:27So I think there's some elements there creeping in.

10:29Mm.

10:30I can never stick to one medium, really.

10:32It's almost like we know that there's a controlled, realistic portrait within your work, but it's being disrupted by the other artists.

10:41Absolutely, yeah.

10:41And then the portrait emerges in the middle ground.

10:43It does, yeah, hopefully, yeah, yeah, yeah.

10:57Clara's a fantastic sitter.

10:58It's interesting that she said she likes these kind of colours anyway, so I really want that to feature.

11:03But, yeah, just getting the basic drawing down and, yeah, really dynamic, great angles.

11:09Jules Manson is a former tattoo artist turned bookseller who moved to Cornwall to pursue her art practice.

11:17Her self-portrait, painted in oils, has a bright yellow background to juxtapose her melancholy about world politics.

11:25So, Jules, your self-portrait is quite a sensitive weaving and you've gone quite big and bold here, haven't you?

11:30I've tried to sort of respond to the individual sitter and I think the canvas size can add to that.

11:36This feels like a lot stronger and the energy's different.

11:39One of the things that was so wonderful about your submission is your pose is just very slightly off to one side.

11:45Is that something that you're looking for in Clara as well?

11:47I think I've edited this kind of angle because I like the slight tilt to the head and there's quite a sort of a soft expression in the eyes.

11:55I like that contrast with her obvious energy.

12:11I'm planning to block in the figure and really get the sense of the values and then start to try and build the light up a little bit

12:18and try and capture, like, the luminosity coming off of Cat's face because it's really gorgeous.

12:22Madeleine Payne is a full-time artist who splits her time between London and Italy, having studied at the Florence Academy of Art.

12:31She painted her self-portrait in oils from life as a final graduation piece to demonstrate her technical ability.

12:39Talk me through the oval.

12:40I work in ovals a lot.

12:42I think Cat's outfit is extremely modern and I think it pairs well with the traditional composition.

12:48I think there's something kind of antique and romantic about it as well.

12:51Right.

12:52Is that something that appeals to you?

12:54Definitely.

12:54I think I'm more of a romantic in terms of portraiture.

12:59I'm not really, like, not looking for edge.

13:01Is there much edge in Florence?

13:03Uh, some crumbly ones, yeah.

13:05Crumbly edge.

13:06Yeah.

13:06So, traditionally, I'm a monoprinter, so the middle between painting and print.

13:24So, I thought I'd do what I'd normally do, which is painting on aluminium panels.

13:29And instead of putting that through an etching press, I'm just going to leave it on aluminium as painting.

13:32London-based Chloe Barnes is a gallery production and studio manager.

13:38Her self-portrait is an etching ink monotype pressed onto paper with charcoal additions.

13:44It's an emotional piece created in the days that followed a breakup.

13:49When you do monoprints, there's a certain rhythm you put together.

13:52Yeah.

13:52And then when you print it, it's a surprise, isn't it?

13:55Yeah.

13:55There's a big layer of unpredictability.

13:58So, today we get what's here.

14:00Yes.

14:01And why this colour?

14:03So, Clara mentioned she liked warm colours, and I was like, okay, I have that.

14:06Okay, so this is in collaboration with the sitter.

14:09Yes.

14:09Well, look, it's very beautiful, and I imagine a lot of stuff has to go on there, so I'll let you put it on.

14:14Thank you so much.

14:17The artists have been at their easels for almost an hour.

14:20I can't decide whether to paint the whole face or leave it as drawing.

14:35I might just paint the hands.

14:37I'm going to see how I feel in a while.

14:40I want to try and get some of the watch in there, so I might go and get some closer photos.

14:50I'm feeling good about the likeness, and I'm just really hoping I can hold on to it for dear life.

14:58How are you finding the sitting?

15:20It's good for me, actually.

15:22Great.

15:22I'm getting to reflect on life.

15:24Yeah, I'm excited to see.

15:25Yeah.

15:26I'm like, look, I can see from behind.

15:38My self-portrait is my first completed portrait.

15:41Since then, I have done maybe a dozen more, but I'm still trying to find what my style is.

15:46I did think it was contemporary, but someone today told me I was traditional, so I don't know what's going on.

15:51Events coordinator Tamika Waller lives in Nottingham.

15:57For her self-portrait, she used a reference image taken during a period of postnatal depression.

16:03Using oils, it was painted with a sense of pride to celebrate her resilience.

16:08Is this your usual way of working?

16:10No.

16:11No.

16:11You're making this up.

16:13But I've been practicing trying to speed up.

16:15Yeah.

16:15The cat's likeness is there, so those underpinnings are right.

16:18I've decided for now that I'm just going to focus on getting the eyes right, so that I feel like I've done something in the first two hours.

16:25And then once you're happy with the eyes, then you fill in the rest of the night.

16:27Then I'll just, yeah, I'll just spread out from there.

16:30Yeah, yeah, yeah.

16:31I mean, there's no grid, there's no phone, there's no underdrawing.

16:45Why do you work like that?

16:46I don't know.

16:47I guess I want to make things hard for myself.

16:49You know, it's a cliche to say, but we spend so much time on our phones and stuff and mediating everything through a screen.

16:54It's kind of the last thing that I want to get into my painting.

16:56Jonathan Small lives in London, where he's an art teacher for children with special educational needs and disabilities.

17:05His self-portrait is in oils on gesso board and was painted from life in his small, dark, windowless hallway.

17:12You have a very committed sitter here.

17:16The other guys are using iPads, so she's really just modeling for me.

17:19But we'll see whether I can pull off a painting that I like today.

17:23Okay.

17:23I hope it's not a stinker.

17:25What are your, what's your percentage to likes, to stinkers, do you think?

17:29Oh, pretty high stinker ratio.

17:32Today I'm working in tinted charcoal.

17:44It's not really bold and really colorful, which I don't know how Clara will feel about that, because I know she's a fan of bold color.

17:49But there's a real necessity to it, and I think the more you look at it, the more you find in it.

17:54David Wayman is a TV director of commercials and online content, living in Loughborough.

18:00He drew his self-portrait with tinted charcoal, and it forms part of a series of family close-ups, which hang on his stairs at home.

18:09It's the obvious question, but why do you zoom in so much?

18:13I'm so glad you're not doing me.

18:15I'm trying to emulate, I guess, a cinematic feel to things.

18:19Why?

18:20I'm a commercial director, so I'm always looking at things from a sort of cinematic perspective.

18:24So I like it to feel as if it's almost a still taken straight out of a story.

18:27OK. Are we going to see that density of cover that we had in your submission?

18:30That's going to be the problem, yeah. I'm going to try. The difficulty is getting enough medium on the canvas quickly enough.

18:35So that's my cue to leave.

18:37I just want to take a little closer shot of the watch.

18:42Go for it.

18:43Beautiful.

18:44Alongside their efforts to maintain the perfect pose...

18:48Great stuff.

18:49Each sitter has brought a much-loved item that the artists may choose to incorporate in their portraits.

18:56Padra, this is an art competition.

18:58Yes.

18:58But if there was a sitter competition, you'd be really in the running, because you look absolutely exquisite, and this object is fascinating.

19:07I'll take it. Thanks very much.

19:09Tell me about it. Why did you bring it?

19:11So, this is an awari set. Can I open it?

19:15Please.

19:16So, it opens like this. You have these beads.

19:22The object of the exercise is to win all the beads on your side.

19:25My dad brought this set back from Ghana in 1970.

19:32Oh.

19:32It was the first time he'd been able to get back into his country. He was a journalist, and he'd had to flee in the 50s.

19:37So, it's an affectionate thing, but it's just one of those family things.

19:41Yeah.

19:41Yeah. My family's all gin rummy. My brother plays Aces High, and I'm like, what are you, an animal?

19:46Yeah, yeah, yeah. Exactly.

19:52Kat, tell me about your object.

19:54So, I brought along a tiger's eye ring. It's one of my favorite rings.

19:59It looks like a tiger's eye.

20:01Yes.

20:01Is it what the stone is called?

20:03Yes, it's a crystal. So, tiger's eye is known for protecting you from negative energy, but also enhancing self-confidence and self-belief.

20:11It's interesting, because you played huge crowds.

20:15You're telling me you need a bit of spiritual support to get up there and play in front of people?

20:19I'm actually extremely introverted.

20:21Ah.

20:22Yeah, it's almost like a mask.

20:23Yeah, yeah. And that protects the mask.

20:25Exactly.

20:25Clara, you brought this beautiful watch along with you. Tell me a little bit about it.

20:34So, this watch belonged to my glorious dad, Emmanuel.

20:37Nice.

20:38He passed away ten years ago, and he loved this watch. It was very well-dressed. I always had it on a great tie, great watch, so it's the things he didn't, you know, scrimp on.

20:48And is there any element of his natty dressing and love of gold that you might have continued?

20:53I love gold. I mean, you know, Ghana is where my family's from. You know, it was called the Gold Coast at one point.

20:59And you'll never see me without some sort of gold adornment.

21:02And you've got the African queen.

21:04Oh, yes, this is, this is, oh, yes, Nefertiti.

21:06Nice.

21:07Iconic.

21:08My materials and my practice is chalk pastels and drawing with all sorts of Conte crayons, charcoal, anything like that.

21:31I love the choice of colour and textures, and being able to bring it forward, take it back, and I love them.

21:41Artist and printmaker Suzanne Smith lives in Brighton.

21:46Her self-portrait features her cherished scarf from a holiday in Saint-Tropez, and was drawn using soft pastels, Conte pencils and charcoal.

21:55Suzanne, what a lovely start.

21:57You know, you've set yourself quite a big challenge here, because you've got the head and the shoulders, and it looks like you're getting the object in.

22:03And the object, because that's so fascinating, and the sitter is so beautiful, and her dress is amazing.

22:11She just totally nails it.

22:12She wins.

22:13She does.

22:15Is that the scarf from your submission, Dan?

22:16Yes.

22:18Sweet.

22:18Is that your security blanket?

22:20Yeah.

22:20Well, listen, it got you into the competition, and we really loved the way that you rendered that scarf, so it got you here.

22:26Yeah, yeah.

22:35I gathered from your self-portrait you like colour.

22:38I love colour, yes.

22:39Yeah, but this is insane.

22:40A bright yellow to be painting in.

22:42Yes.

22:43If there was a bit of empty space, then it's empty space, but with the colour, it's not empty space.

22:47The composition is fabulous.

22:49I thought it'd be nice to get kind of like an up-angle shot.

22:52She's actually looking down at us.

22:53Yes, that's what I kind of wanted, yes.

22:55I was looking slightly down at us with a bit of disdain.

23:00Artist assistant Curtis Valentine grew up in London.

23:04He used oils to paint his self-portrait on primed wood, and it was inspired by a still from the film Trainspotting.

23:11Now, you've heightened the colour.

23:15For sure, yeah.

23:15There's a green in the background.

23:17Yes.

23:18Is that going to make an appearance?

23:19Of course, yeah.

23:20When?

23:21Right at the end.

23:22Right at the end.

23:23Oh, blimey.

23:23Oh, okay.

23:24You've also manipulated the image of Kat on your tablet there.

23:29Yeah, almost to look like a worse picture, so then intuition can come into play a little bit more.

23:33What you're trying to do is get that distance so you can have more fun.

23:36Definitely, yeah.

23:37Yeah.

23:40The artists are nearly halfway through their four-hour painting challenge.

23:52I think it's going a bit slowly at the moment.

23:54I need to catch up a little bit, but, yeah, I'm feeling good about the general drawing, so I'm in a good place at the moment.

24:11It's not very flattering.

24:12You know, I'm in a hurry to sort of get rid of it and find what I'm looking for, but it's just getting some paint up there, you know, for now.

24:22Times just seems to be going a lot.

24:24It's just a little bit quicker than it did at home when I was practising, just wanting to get a complete painting at the end of it.

24:38Our nine artists are still busily capturing today's sitters.

24:43Broadcaster Clara Ampho, actress Adjua Ando, and singer-songwriter Kat Burns.

24:51Hey, Curtis.

24:52How are you doing?

24:53So, time's going faster than I thought.

24:55Perfect.

24:55You all are listening to stuff.

24:57What are you listening to?

24:58I'm listening to you.

24:59No, you're not.

25:00Yes, yeah, yeah.

25:01Give over.

25:02What song are you listening to?

25:03No, that's You're Not Alone.

25:04Oh, my gosh.

25:05I wasn't expecting that song.

25:06Halfway through, I'm enjoying this day.

25:12We've got some good works of art.

25:13Adjua's very present, very still.

25:15Yeah, I think Adjua's taking it really seriously.

25:18She's brought with her a fascinating object.

25:20And I can see Suzanne was, like, instantly compelled to put it in.

25:22I mean, it's like a dual portrait there.

25:24It's a bit fierce at the moment.

25:25She's much further away now.

25:27So the subtleties that are her superpower, we can't see so much.

25:31Jonathan, I feel, is struggling with being watched.

25:34Yeah, Jonathan said he's never given birth in public before.

25:37Right.

25:37Ooh, you know, he's feeling it.

25:39But he's also really feeling Adjua.

25:41It's not overly flattering, but it is powerful, like the characters that she plays.

25:46With Jamie, it's like sustaining his own interest.

25:48It feels like a really perfect marriage of painting and drawing.

25:52He's like four different artists competing on the same day to get their little moment.

25:56I mean, it's a constant battleground for, you know, what's going to win.

25:59Kat's a very quiet presence.

26:02Quite a lot of phone work going on.

26:04Kat is very useful in her use of technology.

26:06But she's such a presence.

26:08I mean, Curtis has given us the colours he was using in his self-portrait.

26:13I love his composition.

26:15Yeah, I mean, I just love the volume that he's created out of that hoodie.

26:18It just looks fantastic.

26:20Madeleine chose the novel.

26:22That worried me straight away.

26:23And I think she's relying on the hoodie, doing a lot of that work for her to make it contemporary.

26:29I really like it as it is.

26:30I could really quickly become accidentally kitsch.

26:33So Madeleine's teetering between glory and pastiche.

26:37Yes.

26:37Risky territory.

26:39So in Tamika's case, I got a sense of Kat really early on.

26:42And of course, as the paint goes on, you lose the underdrawing.

26:46She did have the likeness in the drawing, though.

26:47She did have the good likeness in the drawing.

26:49Yeah, exactly.

26:49It was there.

26:50I think she can deliver a great portrait.

26:52She's just going to have to speed up.

26:54Clara's a wonderful presence.

26:56Yeah, she's sitting there very alert.

26:59It's a very strong, powerful pose.

27:02Yeah.

27:02David spoke about the use of photography in everyday life because he wanted it through

27:07the lens.

27:07The problem, I think, is he's used an image of Clara where the lens has distorted her.

27:12But the distortion is part of it.

27:14He loves this idea of the features of the face becoming almost like a mountain that you

27:18have to traverse across.

27:20But making a flattering portrait is not his priority.

27:23Chloe's been pushing and pulling her portrait all day.

27:26She's got so much on there.

27:27You know, there's that lovely richness of the orange that she's gone for.

27:30And of course, the scale she works on is fantastic.

27:32And she's not going to monoprint this.

27:34So I'm curious how that will look at the end of the day.

27:36Because there's something intriguing you're at that you're just sitting there on the surface.

27:40I think Jules' Clara is looking really ugly at the minute.

27:42But that's just the stage we're at, isn't it?

27:43It feels like it's the stage.

27:45And I love the submission.

27:46And I feel like she's still got quite a long way to go.

27:49I really like Jules' work.

27:50I like the composition.

27:51I like the pose that she's chosen.

27:53It looks like Clara.

27:54What I'm worried about is whether she's left enough time to get through the other stages

27:57that she needs to get to, to where we want her to be.

28:00Okay.

28:05I've always had this idea that I'm really difficult to draw and paint.

28:10Whenever I've seen people that have drawn me before, I'm always like,

28:13Ah, the proportions are slightly off.

28:15So I'm really intrigued to see if they've, like, got it.

28:22I love all different types of art.

28:24I mean, I love watercolour.

28:26I love oil.

28:26I love oil paint as well.

28:27I love the thickness of it.

28:28I love the textures that can be made with it.

28:30But then I love mixed practices.

28:32So I'm hoping I get to take all three pieces home with me today.

28:35I'm going to ask Stephen nicely.

28:41Jamie, how's it going?

28:43Okay, I think.

28:44I started off with an abstract painting.

28:46And you've slowly emerged throughout the day, I think.

28:49How fantastic.

28:50And so how did you come to this?

28:52It was just a lack of time to get in the studio with a newborn.

28:56I started doing a lot more drawing.

28:58And the time I do get, I use it more wisely, I think.

29:00Yeah, yeah, yeah.

29:01The kid element will do that to you.

29:03Yeah, of course, yeah.

29:03It's so nice, Suzanne, to see the density of the colour going on now.

29:19That's quite an austere head that you...

29:21I'm trying to give her back her prettiness.

29:24Ah, okay.

29:25I'm trying to build up more likeness.

29:27Things keep going away, and now I'm trying to bring them back.

29:38What's the status?

29:39Are there any areas that you're worried about overworking?

29:41A little bit.

29:42I want to be really careful with, like, the facial features.

29:44I'm going to try and, like, polish back some areas that with, like, the her earring.

29:47Wow, that's kind of, like, pop through again.

29:49And I'm kind of, like, painting with, like, the solvent as well.

29:51That helps me kind of...

29:52That just takes away the ink completely.

30:01So, Curtis, you're about to use these, but what are you going to do?

30:04Slap the portrait with them?

30:06I mean, what do you do with these?

30:07You put them up in front of the image, and it reduces the colours.

30:10So, you can kind of see value a little bit more.

30:13Okay.

30:13Like, the eyes may be too contrasted against the face.

30:16I see.

30:18I might use these when I talk to the judges.

30:21Change your perspective, huh?

30:22Yeah.

30:24Today's artists only have 30 minutes left to finish their portraits.

30:28I'm not going to use the watch in its entirety,

30:42but I feel that some of the texture from the strap and the colours are working together,

30:47so it's bringing elements in there without actually depicting the watch.

30:50I've been so excited to do the jewellery the whole time,

30:56and now I'm kind of anxious to get on with it,

30:58so hopefully I'll build up the courage to give it a go.

31:06I think I'm going to be using every last second of the time that we've got left

31:09just to try and put more and more layers of detail and depth and quality to what I'm doing.

31:14The artists are hurrying to fine-tune their portraits of Kat Burns,

31:28Adjoa Ando, and Clara Ampho.

31:32You look very relaxed.

31:33Are you on a break?

31:34Kind of, yeah.

31:35Are you finished?

31:36I'm slowing down now.

31:37All right.

31:38I don't want to overwork it.

31:40Are you good at knowing when to stop, when to finish?

31:42I hope that I know that it's now that I should do it.

31:50I'm doing, like, the last finishing touches.

31:53I just kind of, like, do I stop or do I do little things?

31:57Probably stop soon.

32:02In terms of trying to capture something expressive,

32:05I feel like I have achieved it,

32:07but obviously I could spend another day on it.

32:12Artists, you have five minutes left.

32:17Oh, yeah, I'm shaking now.

32:19I'd love to have, like, another four hours, please.

32:23No?

32:26There's something that's annoying me about the right eye,

32:30which I might try and do something with.

32:34Quite nervous about showing the painting,

32:36but, um, what will be, will be.

32:43Artists, that is it.

32:44Your time is up.

32:45Please step away from your easels.

32:47How do you feel?

32:59Stressed.

33:00Oh!

33:01Whoo-hoo!

33:02What was it?

33:06Well, it's been fabulous.

33:11You were very disciplined, weren't you?

33:12Oh, it's been a very good girl.

33:13You have?

33:14Yes.

33:15You worked hard.

33:16I was pretty nicely.

33:17Well, let's see what's there, shall we?

33:19Lovely.

33:20Artists, can I ask you, please, to turn your easels?

33:30Oh, they're lovely.

33:36Oh, thank you so much, guys.

33:39Beautiful.

33:40Shall we have a closer look?

33:41Yes.

33:42Thanks, Suzanne.

33:43Look at my daddy's awari cane sitting next to me.

33:48That's so lovely.

33:49You really get the sense of side-by-side there.

33:51Yeah, you do.

33:52There's a real connection.

33:53Quite a serious expression on your face.

33:55That's my resting face.

33:56Is it?

33:57Thank you, Suzanne.

33:58Now, Jonathan.

33:59I love the brushstrokes on this one.

34:00That's...

34:01He had that central position, looking right at you.

34:02That's a very...

34:03Direct.

34:04Yeah.

34:05Strong.

34:06It's a looking out to look inward.

34:07It's got that sense to it.

34:08You know, when you're looking, but you're thinking internally at the same time.

34:11Thanks, Jonathan.

34:12Oh, wow, Jamie.

34:13It's got a real impressionistic feel to it, I think.

34:16Yeah.

34:17Yeah.

34:18Yeah.

34:19Yeah.

34:20Yeah.

34:21Yeah.

34:22Yeah.

34:23Yeah.

34:24Yeah.

34:25There's a real impressionistic feel to it, I think.

34:27Yeah.

34:28The gaze is real and intense.

34:30There's wisdom in those eyes.

34:31Is there, though?

34:32There is there.

34:33Well, there is in those.

34:34Right.

34:35Everybody knows we're making you choose one.

34:38Can't make an exception.

34:39No.

34:40No.

34:41Just between us?

34:42No.

34:43Goodness me.

34:44I would love to take them all.

34:46But I'm gonna take this one.

34:47How was it?

35:01Almost a bit too relaxing.

35:03There were a couple of moments where I may have caught a couple of winks.

35:06I'm not saying anything.

35:07Yeah.

35:08But you probably should feel a little bit more refreshed.

35:10Indeed.

35:11Than you did.

35:12Right.

35:13Artist, can I ask you, please, to turn your easels.

35:15Ooh!

35:20Oh, wow!

35:22I did the thing.

35:23I said, wow!

35:24Everyone says, wow!

35:25I want to think of a different word!

35:26You can't help it.

35:27Oh, wow!

35:29Wow!

35:32Okay.

35:33They are all so fantastic.

35:35Right.

35:36Shall we have a closer look?

35:37Let's have a closer look.

35:39Jewels.

35:40Fantastic.

35:41It's really interesting to see myself looking a bit more pensive.

35:45Yeah, I really like that.

35:46Oh, and the Nefertiti.

35:47You've got my favourite necklace in as well.

35:49Thank you, Jewels.

35:50Fantastic.

35:53Oh, gosh.

35:54Another solid one.

35:55It's beautifully close.

35:56There's their vulnerability in that.

35:58Yeah, I think so.

35:59And I like the depth in the eyes as well.

36:01Like, I've really seen some things.

36:04Thank you very much.

36:07Thanks, guys.

36:08Chloe and her metal.

36:10This is so interesting.

36:12There's almost a slight, like, who said that look in this one?

36:16Which is one of my default moves.

36:17Oh, really?

36:18Let's go what?

36:19Yeah.

36:20This is so cool.

36:22Right, Clara.

36:23You get one.

36:24Can I not just...

36:26No.

36:27No.

36:28Can we not...

36:29No.

36:30...figure something out?

36:31No.

36:32No.

36:33Okay.

36:34The one that I am most drawn to...

36:38...is Chloe's.

36:39Yeah.

36:40Yeah.

36:52How was it?

36:53I really just wanted to get up and look.

36:54And you resisted?

36:55Yeah, I did.

36:56I actually have no idea what it looks like.

36:57Right, shall we not prolong the agony anymore?

36:59Yes.

37:00Artists, can I ask you, please, to turn your easels?

37:02Oh, my gosh.

37:03I'm scared.

37:04Ah.

37:05Ah.

37:06Ah.

37:07Ah.

37:08Ah.

37:09Oh, my gosh.

37:10I'm glitching.

37:12Oh, my gosh.

37:13I don't know what to do with myself.

37:15Well, let's go and have a closer look, shall we?

37:17Yeah.

37:18Let's do that.

37:19It's so bold, Curtis.

37:21I actually really love this.

37:23It's brighter than I thought it was gonna be, which is really nice.

37:27Sort of regal look to you there.

37:28Yeah.

37:29I looked like a queen.

37:30I know.

37:31Well done.

37:32Right.

37:33Over to Madeline.

37:34Oh, my gosh.

37:35On to the next.

37:36You got me doing the pose.

37:37It's really nice.

37:38Oh, I love the color of the hoodie.

37:39And I love the green.

37:40Would you make it the oval shape?

37:41I love the oval shape.

37:42Is this to mirror the ring?

37:43Oh, that was part of it, yeah.

37:44No, not really.

37:46Yeah, she's thinking, that's...

37:47Yeah.

37:48That's right.

37:49Yeah.

37:50Yeah.

37:52And Tamika.

37:53Oh, my gosh.

37:55I love it.

37:56I'm looking really intensely into the camera.

37:58Intensely.

37:59My camera.

38:00I love the color of the hoodie as well.

38:02Yeah.

38:03Well, you get to take one of them home.

38:05I don't like making decisions.

38:07Because I actually really love them all.

38:10Hmm.

38:12I want to take home this one.

38:14Madeline.

38:27With time to examine the portraits, the judges assess today's work.

38:31Tamika had a bit of a struggle today, but the end result is rather lovely.

38:36It's complete, and it's believable.

38:38Yeah, I just think she just needed a bit more time.

38:40Yeah.

38:41Madeline's given us something which is contemporary in a traditional style.

38:47You know, we were so worried that it would go chocolate box.

38:50I do think she stopped that happening.

38:52But the likeness isn't exactly like Kat for me.

38:57Curtis seems to have fully embraced the fauves.

38:59You know, it looks like he's taken all their best colors.

39:02Yeah.

39:03It feels like a painting up there.

39:05And then it feels there's too much not going on down in the bottom section.

39:09But, you know, a very fine head.

39:11James is an intriguing artist.

39:17Like, he just got this fantastic regal figure.

39:21How she's placed in the space of the board.

39:24The way the hands are clasped.

39:26I mean, all great decisions.

39:30Jonathan really looked today.

39:32There's a roughness to this, but at the same time,

39:35there's something incredibly honest and powerful.

39:38Suzanne had a bad day that took her a long time to start.

39:43But I really like this.

39:45It has got a meanness to it.

39:47But it's got an elegance to it.

39:49A really clever use of the background.

39:51Yeah, I agree.

39:57Chloe's piece is a bit of a conundrum, isn't it?

40:00Her submission was a monotype.

40:02And today she gave us only one side of the process.

40:06In itself, it's a tour de force.

40:08Yeah, I mean, I love looking at it.

40:10I wish it looked a little bit more like Clara.

40:11But then she chose it.

40:12So she saw something in it.

40:13Wow.

40:18David's approach is pretty unforgiving.

40:19Although this is beautiful.

40:21I think it's amazing what he can achieve with his medium.

40:23But there's something about it that has a quality of being slight.

40:27Oh, gosh, there was so much promise in Jules' self-portrait with that fantastic light that was coming behind.

40:34I mean, she clearly needed a bit more time.

40:36But what is there?

40:37I really like.

40:38It's unresolved.

40:39But there is that sort of gentleness in the eyes and a playfulness in the mouth.

40:42And that's Clara, you know.

40:43So those elements of emotion Jules was looking for, she has caught in itself.

40:46Yes, yeah.

40:50It's a good day.

40:51He has strong character, surly attitudes.

40:54It's interesting seeing these two together.

40:56They're both very powerful.

40:57I must say I prefer this one.

40:59I think I'd be really sorry not to see that one in the final three.

41:02I agree.

41:03And this is very unusual.

41:04I mean, different to the submission, but you recognize the language.

41:07This artist did fight all day and that comes through in the power of the painting, doesn't it?

41:12These three for me have got a feeling of the sitter, but in an inventive way.

41:16They're unusual, aren't they?

41:18I'm happy to see those in the final three.

41:20Artists, thank you for being so creative and producing nine brilliant portraits.

41:28The judges have examined your work and have drawn up a shortlist of three.

41:33The first artist is...

41:38Chloe Barnes.

41:45The second artist is...

41:47Jonathan Small.

41:50And the third artist is...

41:53Jamie Stewart.

41:55I just feel like it's been a real achievement just being here and I've had the best day.

42:01The standard's great and I think it's going to be a tough call for the judges.

42:18I can't work you three out, I just can't.

42:22Neither can we.

42:23I found today's three sitters totally delightful.

42:26I know we've only got two of them represented here, but you wouldn't want to be in lift with any of these three the way they've been depicted today.

42:31But that happens a lot in portraiture.

42:33I mean, these feel like three artists that really go beyond skin deep and that's really exciting for us.

42:38In Jonathan's work, you know, they're hard. They're a hard one, they're hard people.

42:43Jonathan's Adjua is spot on.

42:45I'm not surprised that Adjua picked this one of herself.

42:48She acts in serious plays and that is a serious portrait.

42:52Didn't Clara pick this one as well?

42:54Yeah, she did.

42:55So, it's interesting that, you know, you're saying they are very strong, powerful and quite harsh portraits, but both sitters responded to that.

43:01Whereas Jamie, there's an incredible gentleness, both in application, also in how he puts paint down.

43:08Adjua looks regal, but she's also slightly dreamy, I mean, compared to Jonathan's.

43:13He can make these very beautiful, still pencil drawings, but he also is interested in street art.

43:18So, you've got these kind of worlds colliding and I actually think the artist went beyond what they did in their submission on the day.

43:25Interesting that Jamie uses the diagonal as a device, which I think actually really holds the whole thing together.

43:32If Chloe had printed that out, that would be just amazing.

43:34Yeah.

43:35That ear lurking in that mess of tangled of hair, done in monochrome.

43:39But I love it for it not being printed out, but I came to really, really love this aluminium because I saw her basically taking her solvents

43:46and using them as a painting tool.

43:49I'm just fascinated by someone who's playing with the tools of their trade in this kind of way.

43:55So, what surprises have you got in store for us now? We've got three finalists.

43:59And you haven't helped at all.

44:00What do you do, pick a completely different artist to win?

44:03Jonathan, Chloe, Jamie, you've done so well to get through to this stage, but sadly only one of you can go into the semi-final.

44:14That artist created a soulful portrait with inventive mark-making.

44:21And that artist is...

44:23Chloe Barnes.

44:29Chloe Barnes.

44:30I can't believe I got through to the next stage. I, uh, I kind of in a bit of shock. I don't know what to think.

44:46Chloe's portrait was great from, uh, the first hour. It was really strong. And it just got stronger throughout the day. So, yeah, I'm really impressed. She's a deserved winner, yeah.

44:56Chloe's portrait was very striking. I think the simple monochrome thing on an alumina surface, you're very kind of unusual. It was a great piece.

45:08Chloe kept us on the edge of our seat all day. We felt a bit nervous on her behalf, because I suppose we weren't really used to this process.

45:15And then this afternoon, this painting just started to sing this language of Chloe's. I want to see it again. I want to try and understand her way of looking at her subject and transmitting that.

45:25It's a really, really compelling interpretation.

45:28We have to come back.

45:31In the semi-final, I really want to, I guess, push the scale, the mark-making, maybe bring in a few extra colours. I'm really excited to do it all again.

45:39If you want to find out more about the competition and the artists featured, visit our website, skyartsartistoftheyear.tv.

Category

Transcript

Be the first to comment

Recommended