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Landscape Artist of the Year UK Season 1 Episode 2
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Short filmTranscript
00:00Hello and welcome to the beautiful Tralysic in Cornwall as we continue our search to find
00:18Britain and Ireland's most outstanding artistic talent and we're taking on the British weather
00:23as we head outside.
00:24Eight of the country's best amateur and professional artists are about to tackle one of Tralysic's
00:29most outstanding views in just four hours but with three judges to impress who will secure
00:35a place in the semi-final this is Sky Arts landscape artist of the year.
00:41This year we've teamed up with the National Trust to search the country for a new exciting
00:46landscape artist.
00:49From a thousand entries only the most talented have been invited to paint a selection of
00:53beautiful properties.
00:57I like trees very much so I think I'm probably going to kind of look at these trees and have
01:03them.
01:04All with one goal, to win a £10,000 commission to paint Flatford in Sufford made famous by
01:10Constable himself.
01:12The winner's work will become part of its permanent collection.
01:17This engages a whole different part of your brain, doesn't it?
01:19Absolutely.
01:20The whole right side is on fire now.
01:22Today, eight hopefuls have come to Tralysic to showcase their talent.
01:26I know that the painting's finished when everything's covered.
01:31And not just for the judges, ex-head gardener Barry Champion and his wife Lynn have dedicated
01:36their working lives to Tralysic and as a thank you they'll get to choose their favourite painting
01:41to keep.
01:42The oak there has got a branch cut off, I cut that, my chainsaw.
01:49But that's not all, 50 more artists from all over the British Isles are here to try their
01:54luck as a wild card.
01:56Oh wow!
01:58Using a variety of mediums.
02:00This is cow manure.
02:01Yes, fresh cow manure from this morning.
02:03Where did you get the cow?
02:05They'll have to win over judges Kate Bryan, Tyshan Sheerenberg and Kathleen Soriano.
02:11I think I'm going to take my words.
02:13To claim a place in the semi-final.
02:14Are you a sufferer with nerves?
02:16A little bit.
02:17Because you have an enormous bucket.
02:18I wonder if that's in case you're overcome with nausea.
02:21Eight artists, a mix of amateur and professional, have travelled from all over the country to
02:38impress the judges.
02:42The professional artists are Amrik Vakalis, Christopher Ags, Emma Copley, Rosie Hewitt,
02:49Grant Wood, Peter Matthews and Elizabeth Cowley.
02:53I've not finished a piece of artwork in four hours ever before so it'll be a race against
02:57time.
02:58And today there's only one amateur artist, Ivan Daly.
03:02I'm feeling kind of confident, a little bit of nerves but I think I can do pretty well today.
03:11The artists had to submit a digital copy of one of their best landscapes for the judges
03:16to evaluate.
03:17So until now they haven't seen the real thing.
03:20And for me, it's time for an honest confession.
03:24You know what I really love more than anything in the world?
03:27Russ Bromwich Alvin?
03:29No, well, it's when we walk down the wall and we look at the artists' paintings that
03:34they submitted and you talk about it.
03:37I think it's brilliant.
03:38Shall we do it?
03:39No, really I love it.
03:43What I particularly like about this one is I was in Greece last year and there's iron
03:49in the rocks on the island and it looks interesting like it's starting to leak out of the picture.
03:55I love those dripping clouds.
03:57Amazing.
03:58Well there's a real sense of the weather I think.
04:00If it stays grey, they are going to have a field day.
04:04Yeah.
04:05Can I ask one of my stupid questions?
04:07This is definitely a landscape.
04:09Is that defined because it's outdoors?
04:12This is almost a still life to me.
04:14It's all about the boat really.
04:17I'm not so sure that the definitions between still life and the landscape actually matter
04:21that much.
04:22I think in a way you're right, it is about being outdoors.
04:25I think trying to define them into different types isn't important.
04:28I mean it's a very common subject isn't a boat but in this case I think what makes it really
04:35sing is that light that's sort of as the waters receded and it reflects on the shadow side
04:39of the boat.
04:40It's really sort of atmospheric.
04:41This looks a bit like paint by numbers.
04:48Ah.
04:49This stylisation is kind of interesting.
04:51I think this is someone that will come to the landscape today and surprise us.
04:55I think you're right.
04:56I can see today's landscape in this style so I'm like it's going to be great.
05:02We were being really maverick when we saw this one.
05:04We fell in love with the, I think it was the intellectual approach, the sort of mind mapping
05:09of the landscape through text and that sense of the mountains in the background.
05:14I know you're going to think it's not a landscape but we were completely seduced by it.
05:20Can I tell you, you guys are assuming I don't.
05:22I love this.
05:23Landscape for me is all about looking at weird maps and stuff and trying to work them out
05:27and this is like, it's got all that strangeness and all that hostility that I associate with
05:31being lost.
05:32He was in the sea when he did this so this would have been pinned to a board as he worked
05:37on it.
05:38I think this is fantastic.
05:39I don't know what they can do today with you but I'd love this on my wall.
05:46Today's artists have a choice of painting, the view of Tralissic House originally bought
05:52by Leonard Cunliffe, a former director of the Bank of England, or out towards the River
05:57Fall estuary.
05:59Whichever vista they choose to capture, they've all brought essential bits of kit.
06:04This palette I've had since I studied in Florence, it's traveled.
06:08It's like an old guitar case I guess for a guitar player.
06:11My tools are paint brushes and I've had this palette knife I guess for a long time and this
06:18palette scraper, they're special to me.
06:20They're not very pretty but they are.
06:22I've got a lucky charm, never travel without a banjo.
06:29Because I don't feel at home unless I've got, you know if I get too far from a banjo then
06:33life could go pear shaped.
06:35Passionate banjo player and retired lecturer Christopher Ags is from Ashington in West Sussex.
06:42His submission painting is a view from his studio which includes his neighbour's campervan
06:47and a subject he enjoys painting and that Tralissic has in abundance.
06:52I like trees very much so I think I'm probably going to kind of look at these trees and have
06:59fun with them.
07:01I like trees very much so I'm going to look at them.
07:08Artists, we hope the weather's going to hold for you because your challenge is about to begin.
07:15You have four hours to complete your work so good luck and your time starts now.
07:22Most of our artists are used to painting en plein air or in other words outside.
07:42And for one, marrying mother nature with his canvas takes on a whole new meaning.
07:47This is cow manure.
07:49Yes, fresh cow manure from this morning.
07:51Where did you get the cow?
07:53I was tracking a cow walking down the field here.
07:56Actually that's very liquid isn't it?
07:59What kind of colour will they give you?
08:00Oh I'm not sure.
08:01It's quite nice isn't it?
08:02It's a lovely rich colour isn't it?
08:04It is indeed.
08:05Peter Matthews is from Leicestershire.
08:08For his submission he fixed a piece of paper onto a floating board and stood in the Atlantic
08:14for nine hours noting down the experience with expressive markings and words.
08:19As a conceptual artist he uses all his senses to create his pieces.
08:24Oh what's that dust?
08:25Are you smoking?
08:27It's a resin from a tree in North Mexico.
08:30Copal.
08:31Are we getting high here?
08:32No, no.
08:33I'm sorry about that.
08:35So what does it do?
08:36It's nice isn't it?
08:38It's a lovely way to connect with the land through the smell.
08:45And what I'm hoping for today Joan is a visceral approach to exploring a landscape rather than just looking at it.
09:00God you've already got a photograph of grid.
09:02Yes.
09:03You look like someone in your office.
09:05Yeah.
09:06No.
09:07I tend to work in my bedroom a lot so this is my set up usually for doing drawings so just trying to feel at home.
09:15Elizabeth Cowley is from Lost Whittle, Cornwall.
09:19Her landscape is of Logan Rock near Treen, a place where she used to go camping with her family as a child.
09:26Before undertaking a degree in illustration she considered a career in mathematics.
09:31I read that you actually think mathematics can be applied to art.
09:35Oh definitely.
09:36The thing about this view is there's a human impact on this so mathematics has been used in this building.
09:41Yes.
09:42So I will be using mathematics in this but all around it is nature so it's going to be a mixture of the both I think.
09:49Are you a sufferer with nerves?
09:52A little bit.
09:53Because you have an enormous bucket here which I wonder if that's your in case you're overcome with nausea.
09:58No, the team gave me that for pencil sharpening.
10:01That's for pencil sharpening?
10:03That's for pencil sharpening.
10:04How big is your pencil?
10:14Usually I spend a lot more than four hours on a painting.
10:18You know, more in the realm of 20.
10:20So this will be a challenge for sure.
10:25Emma Copley lives in Cambridge.
10:27Having studied at the Rhode Island School of Design she went on to work at Boston Museum of Fine Art and Tate Britain.
10:35Her landscape is of Petersburg Pass in upstate New York and captures the moment a storm cloud rolled in from the Hudson Valley.
10:43You've already sort of set quite a sort of up in your face composition you've got there.
10:50You're right in amongst the trees.
10:51I'm very interested in the dark trees back in the distance in there all the tangles of branches.
10:57That's really a challenge to draw so that's fun.
10:59So it's got to be a challenge.
11:01Oh yeah.
11:02It can't just be something that you think I can do that and I can make that look.
11:06No, there has to be a bit of a challenge or I can't really do it.
11:09So even today when you know it's a competition you're not going to take an easy route.
11:13You're going to make it hard for yourself.
11:15No, but like I said I think if I did take an easy route it wouldn't look as good I don't think.
11:19It didn't have a bit of complexity in there.
11:22This year there is a new element to the competition.
11:29Fifty other artists have descended on Trelissic to try their hand as a wild card.
11:36If they impress enough one could find themselves in the semi-final.
11:43This is the first time I've ever painted outside so it will be interesting.
11:47And they're not leaving anything to chance.
11:50I've brought acrylics, oils, watercolours, pastels, everything you know.
11:54By the time I loaded my car up I looked at it and I thought wow.
11:58I've just transported my whole studio into the car.
12:02So here it is.
12:04They're even prepared to protect themselves from the elements.
12:07Just a bit of wind precaution.
12:10Heavy showers this afternoon apparently.
12:12Thunder maybe, lightning.
12:15Rain, sleet, snow, hail.
12:17So you never know, everybody's going to be falling into our little tent.
12:19You two just met today.
12:26Bizarrely.
12:27But you've got kids at the same school.
12:29Yep, yep.
12:30And this lady lives about five minutes at the road.
12:32Oh hello.
12:33Hello there.
12:34How are you doing?
12:35We could have saved you all a lot of the journey and just come to your place.
12:38Well good luck.
12:39How lovely being out for it.
12:40It's like being on Loose Women.
12:46Battling it out for a definite place in the semi-final, our eight heat artists are already one hour into their four hour challenge.
12:54It's a little bit chaotic still.
12:55A bit of chaos.
12:56It's quite creative sometimes.
12:57I think there's always a period of being lost and then you find yourself.
13:09So feeling good.
13:11I'm a little bit behind schedule but it'll be fine.
13:18I can't stress in the first hour or else I've got no chance by the end.
13:22At Trelissic in Cornwall our eight artists are battling the British weather and each other for a place in the semi-final.
13:49And they're just over an hour into their challenge.
14:01Grant on behind you, don't do anything too flamboyant.
14:04I'll try not to.
14:06I'll tell you what, it's so uplifting to see a proper palette with a thumb coming through it and big chunks of paint.
14:13Originally from Chattanooga, Grant Wood now lives with his wife in New Romney, Kent.
14:20The abandoned and rotting fishing boats in his landscape were discovered after talking to local fishermen at Rye Harbour.
14:25I was kind of fascinated that you used to be an artist's apprentice.
14:30I was, yes.
14:32What does that, what do they do?
14:34You, basically you just stretch canvases, sweep the floors.
14:38You literally swept the floors and stuff?
14:43Yes, yeah.
14:44But also, you know, in terms of, you know, basically an education.
14:50It sounds so great.
14:51Living art like that, doing all the dirty stuff and in the meantime, like the sorcerer's apprentice.
14:58Gaining your own skills and your own art.
15:00I don't normally get to get this close.
15:02Like, you know, not only does it look good, but it actually smells pretty good too.
15:06It does, doesn't it?
15:16I feel happy being here, so I'm going to hopefully create a very happy painting.
15:22Amrik Varkalis lives in Huddersfield.
15:25Born in the Punjab, she moved to the UK as a child and went on to study textiles at Art College in Manchester.
15:32Her submission was painted after a long walk through a local village called Marsden.
15:41Is colour for you something which is part of your cultural heritage?
15:44I think the colour comes from inside.
15:46Yeah.
15:47You know, it's something that's quite intuitive.
15:49I think it's sort of balancing the wealth of heritage and also the wealth of British landscape.
15:59Yeah.
16:00I don't want to just only create a painting that doesn't resemble this.
16:03Yeah.
16:04I do want it too.
16:05No, and there's certainly likeness there.
16:08Well, it's fascinating watching you navigate all those different ideas and find your way through the landscape.
16:19Of today's eight, only one is an amateur artist.
16:30So, are you painting much of your time?
16:31Mostly it's in my spare time.
16:33I work as a full-time job in a medical device company in Shannon, County Clare.
16:39Right.
16:40It's not as creative, but...
16:42This engages a whole different part of your brain, doesn't it?
16:44Absolutely.
16:45Absolutely, yeah.
16:46The whole right side is on fire now in the moment, so...
16:49Ivan Daly is from Newmarket on Fergus in County Clare.
16:54He studied fine art and printmaking at Limerick School of Art and Design.
16:58The rugged rocks in his painting are part of the Burren coastline near Doolin,
17:03a place he and his wife like to visit in their camper van.
17:06Have you been practising?
17:08I have.
17:09I've been practising outside, especially.
17:11Is painting in the open air just different from painting in a studio?
17:15In a studio, if you're painting for photographs, for example,
17:20there isn't quite the same satisfaction of achieving the colours as such.
17:25When you're painting from life, you can really get the colours as close as you possibly can.
17:30Plus, you have, beyond the photograph, you have so much more around you
17:36than what you take as a photograph.
17:38So, yeah, it is green in that sense.
17:48Being just one mile from the English Channel,
17:50weather at Trilisi changes rapidly and frequently.
17:54This weather's wild.
17:55It's just crazy, Jane.
17:57I mean, this morning we've had rain, the clouds have parted,
18:01we've had a bit of sunshine, but it...
18:03It's part of the elemental feeling of this place.
18:05It is a fantastic location.
18:07It's a wonderful location, isn't it?
18:08But it's an enormous challenge for an artist,
18:10setting up an easily location like this.
18:13It's a lot of landscape, but, of course,
18:15the editing of the landscape as the light changes is difficult,
18:19but that's what makes painting plein air exciting.
18:21We do have these poles, but, unfortunately, the wind and the rain
18:25is blowing straight into mine.
18:27I don't mind it, it's quite exhilarating in the one way.
18:31Rosie Hewitt is from Walburton in West Sussex.
18:35A self-taught landscape painter, she likes to find the beauty in every scene.
18:39Her oil painting captures the reflections of the reeds in the River Arran on a summer's day.
18:49I like... You know what I like about the first thing that I really feel?
18:53I can feel the wind in it.
18:55Oh!
18:56I can feel that, too.
18:58But not everyone has got that.
19:00Oh!
19:01Those trees are... They are wind-affected.
19:04It feels like the day feels.
19:06Good.
19:07What are you listening to? Is it... Is it...
19:09Joni Mitchell.
19:10Yeah, that's why, you see, it's got that slightly broken melancholy about it,
19:15this picture, I think.
19:21With a possible place in the semi-final at stake,
19:24the wildcards are trying to impress the judges
19:27in spite of what the weather throws at them.
19:30The canvas blew off my easel,
19:33the umbrella blew on top of it,
19:35and it's sort of ruined,
19:37but, you know, it's a good experience.
19:40Do you want to come under my brolly?
19:42Very kind of you.
19:45We started off not being able to see anything,
19:47and then it all became clear,
19:49and now it's all gone away again.
19:51But it's good fun.
19:53I'm so impressed by these artists.
19:55This is not an easy day to paint.
19:57And actually there's some brilliant, brilliant paintings.
20:00There's one girl that started with this very dark background,
20:03and has got all this pink running through it.
20:05It's very sublime.
20:06It's normally lovely and sunny when I venture out to paint.
20:10And I usually use watercolours,
20:13and oils are not happy in the rain.
20:16The sky looks quite blue compared to that.
20:20Yeah.
20:21Are you hoping it might get blue?
20:22No.
20:23Well, we all are.
20:24These are the Cornish colours.
20:25Are you Cornish?
20:26I am.
20:27You don't think it's in your soul a bit,
20:28because you live round here?
20:29A little bit,
20:30but I think wherever I go,
20:31I can paint this good,
20:32so I'm not really bothered.
20:33OK.
20:34I love your confidence.
20:36You had to be confident in this, didn't you?
20:37Yeah.
20:38You wouldn't see anyone in a pink waterproof smock
20:39that wasn't confident.
20:40Oh, whoa!
20:41Seven of our heat artists are using oils or acrylic in their work,
20:44but Liz has discovered a new way of using an old school favourite.
21:04What is that?
21:05Is that ink?
21:06Yeah, it's this, it's this crink ink,
21:07and it's a black ink that separates into its blue and orange parts,
21:12and I've found ways to bring out the blue more
21:15or bring out the orange more.
21:17Oh, OK.
21:18So I'm putting in the trees in the background some fine line detail.
21:22It's really black at the minute,
21:23but when I wash it over with water,
21:25the blues will come out in it
21:26and it'll look further in the background than it is at the minute.
21:29Our artists are nearly halfway through their challenge.
21:44I don't really know if I'm on schedule or not, but I know that the painting's finished when everything's covered.
22:09Yeah, I'm feeling the pressure now a little bit.
22:13Definitely.
22:14Have you painted a little bit earlier before?
22:16I have before for fun.
22:17Yeah, but usually my finished stuff I do in the studio.
22:22I think I'm going to keep my words.
22:23I've been looking at Emma,
22:24and I felt sort of painted rather like a paint by numbers.
22:26Yeah, she said twice.
22:27Yeah, and it turns out she's nothing of the kind.
22:29It's a far more sort of sophisticated approach.
22:31It looks like it could be quite exciting.
22:32At Trelissic House on the Cornish coast, our artists are into the third hour of painting.
22:37and the judges have been keenly observing progress.
22:40Well, we're halfway through.
22:41The weather hasn't improved.
22:42It looks like it could be quite exciting.
22:43At Trelissic House on the Cornish coast, our artists are into the third hour of painting.
23:02And the judges have been keenly observing progress.
23:07Well, we're halfway through.
23:09The weather hasn't improved very much.
23:11At least it's not raining.
23:12But I want you to give me a rundown on what you think so far.
23:15Kate, let's start with Peter.
23:17Peter, well, he's certainly a very interesting character.
23:20I think I'm waiting for him really to kind of come into his stride.
23:23I was a bit disappointed.
23:24You know, we really liked what he had entered with.
23:26I think he's overwhelmed by the landscape.
23:29Liz, very painstaking.
23:31And very well organised.
23:33I mean, she really has a plan of action.
23:36And what was so clever about her submission
23:38is that there was a little touch of warmth,
23:40a little sense of spirit of place.
23:42And, you know, I really hope that she'll be able to do that here.
23:46The sky, I think, is finished,
23:47and I did think it caught today's weather very well.
23:53Grant, what do you think so far?
23:54It's, again, in a traditional manner,
23:56it's a very well-constructed painting,
23:58but it's got a bit more dynamism.
24:00It's very expressionistic.
24:01You know, he's using all these colours.
24:03The composition is finding itself through the paint.
24:06I just want to see that little bit extra by the time we come to judge.
24:09Well, we've got time.
24:13Emma, she's one of the few artists I've watched when she actually paints.
24:16She paints in a very considered way, and the marks are slow.
24:20Hers are the most interesting colours for me to date.
24:26You're all in a dilemma here, aren't you?
24:28I know.
24:29Because here is a landscape with so many elements.
24:31Do you want an impressionistic version of them,
24:33or even a conceptual version of them?
24:35You're going to have to decide.
24:47Used to working with just black ink,
24:50Liz has chosen to use today's competition to try something new.
24:53I'm just about to put my green layer, my first green layer on.
24:58I don't usually use colour in my works.
25:00We'll see how this goes.
25:02It's always a bit nerve-wracking,
25:03because once it dries, you can't really go back on it very easily.
25:07It's so windy.
25:20It's loud.
25:21It's kind of scary.
25:23It's making me paint faster, definitely.
25:32At the end of this, am I going to be able to look at this,
25:35and I'm going to see that it's what you see out there?
25:39Um, no, I don't believe you will.
25:42I mean, you may pick out fragments, like I am,
25:45because what I see is quite disjointed.
25:48And what about the writing?
25:50Well, the writing is a way for me to anchor myself in what I'm seeing.
25:55So it's a kind of a journal as well as a...?
25:57Yeah, absolutely, yeah.
25:58As a work.
25:59You know, I'm interested in the inner landscape as well
26:02as what's happening out there, you know?
26:04And as we navigate out there, we navigate through our inner landscape.
26:12Not only are today's artists spoilt
26:14by the abundance of exotic plants and trees within the garden itself,
26:18they also have the dramatic views across the foul estuary to inspire them.
26:22Most gardens are created with internal vistas.
26:27So you create a vista within the garden, but at Trilisic we're a little bit different in that we have several external vistas taking in the landscape outside of the property.
26:36The water surrounding Trilisic creates a fantastic environment for growing lots of subtropical and tender plants because the water insulates the garden.
26:46People talk about climate, but that's quite deceptive really.
26:49A garden like this is a series of microclimates.
26:51And it's this particular climate and atmosphere that's been drawing artists to Trilisic for over 200 years.
26:57The whole of this area is an extraordinary inspiration to artists.
27:02You have this wonderful moisture laden wind being brought in and that gives a very diverse and diffusive quality to the light here.
27:11So things spread and glow.
27:13Offering a snapshot into Trilisic's past is a 19th century romantic painting by Thomas Light Hornbrook.
27:20It's a reflection of how landscape was viewed at that time, almost as an Arcadian landscape.
27:27Perhaps the hill isn't quite that steep.
27:30Maybe the house isn't exactly in the right place.
27:33Maybe the trees are not quite as wizened and twisted.
27:36So there's a story being told.
27:39The view from the river is recorded in a simple pencil sketch of 1826 by naval officer George Trevannian.
27:47It has only recently come to light after being discovered in a secondhand bookshop.
27:52It struck me immediately that it looked like the sort of drawing that young naval lieutenants were taught to draw.
27:58I think for observation purposes, there's much more attention to the trees, the shape of the river bank, and the house is almost a sort of afterthought.
28:09But with the house being such an iconic mark on the landscape, how will the work of today's artists compare with those of the past?
28:18If I wanted a painting to remind me of the property, if we could take the artist back to 1826 and have the view of the mansion with the portico, that's what it would be.
28:31And Barry and his wife, Lynn, who have both dedicated their working lives to Trelissic, will get their favourite of today's paintings to keep.
28:42So how long have you two been associated with this fabulous project?
28:4636 years.
28:4736 years, yeah.
28:48So you were born here?
28:50Almost.
28:51Yeah.
28:52So you were the head gardener, what was your role in all this, Lynn?
28:57Well, I was Barry's secretary, and I also worked for the National Trust as well.
29:02So I can't imagine what it's like being the head gardener at a place this big.
29:07There was myself and three gardeners, and we looked after 376 acres.
29:11Really?
29:12I thought you were going to say you had a team of 200 or something like that.
29:15Three.
29:16It's in your blood, isn't it?
29:17Yeah, yeah, yeah, it's lovely.
29:19So today you are going to choose a painting.
29:23Yeah, we've got a space for it.
29:25I've got a space for it.
29:26And I love the idea of you having some sort of representation put together by one of our marvellous artists.
29:33I'm looking for a new secretary.
29:35All right, yep, I'm available.
29:36Please.
29:37I can start Monday.
29:38A day of painting in the ever-changing weather is almost over for the wildcards.
29:57Before they pick their winner, the judges take one last look.
30:01I love the way you've picked up the colour in the bushes.
30:07I like the verticals and the framing of the trees here, and then with the splash of colour.
30:12Are you pleased with the result?
30:13Um, I feel okay about it.
30:15That's probably as good as I can say.
30:16Yeah, good.
30:17Yeah.
30:18Yeah.
30:19Yeah.
30:20You know, I water an art garden and I see a painting and I think, I wish that you were
30:23allowed to touch them.
30:24Because there's something very...
30:26Tactile about it.
30:27Yeah.
30:28Yeah, there is.
30:29So I'm quite envious of you just...
30:30Well, now's the time if you want to put your, um...
30:32Well, I...
30:33The trouble is, if it turned out to be a winner, I'd feel I'd have to.
30:42It's been really interesting.
30:43I've tried not to look at other people too much because I'm a bit intimidated.
30:49There's such, like, a high standard here.
30:56The judges have to decide on one artist to put through to the pool of wildcards from across
31:01meets, from which one will make it to the semi-final.
31:12Hi, Robert, you're busy tidying away.
31:15I'm delighted to tell you that you've won today.
31:17You're our wildcard artist winner.
31:31Even though our eight artists are up against each other, members of their families have
31:40joined together in support.
31:42Seeing all the different approaches to the work, it's...
31:44I think that's what's so wonderful about putting artists together like this.
31:48There's something really lovely about seeing the way other people see the world
31:51and how they then express things through their hands.
31:54I think it's... it's lovely.
31:57I'm so used to seeing him painting in the studio,
31:59and I was wondering how he would manage with all the people around,
32:03but he seems to be lovely.
32:04I'm way more nervous than he is.
32:05Definitely.
32:06Exactly.
32:07I'm way more nervous.
32:08There are just 30 minutes of the challenge remaining.
32:11Half an hour to go.
32:12Yeah, yeah.
32:13One of the priorities.
32:14I just want to...
32:15I want to make more of these dark trees over here.
32:17Keep going.
32:18These marks that you're making now are going to make a big difference.
32:20I hope so.
32:21It's going to show that every... every moment counts.
32:23Yeah.
32:27Now, this is very vigorous.
32:28Are you pleased with it?
32:29I've had fun with it.
32:30I think I'll have to push to finish it, but...
32:32And don't overdo it.
32:34No, exactly.
32:35Exactly.
32:36Yes.
32:41I'd like to get some more depth in, so adding some more dark layers to come through,
32:44and then I'm going to work two different tones in with a hairdryer in between,
32:48and hopefully that will make it work.
32:51It's better.
32:52Let's do it at the minute.
33:09Here at Tralissic in Cornwall, our artists are in the closing minutes of today's challenge.
33:13I don't have time to do any more layers, so...
33:18And I want to get some more tone in, so I'm just getting this done,
33:21and then seeing how much time I've got left to see if I can finish it off to how I want it to do.
33:32Just wondering what to finish now at the moment.
33:34Hopefully the judges will like it, so...
33:36Fingers crossed.
33:37Fingers crossed.
33:45I am feeling stressed out, because I have to decide what to do, and it's very difficult, because there's a lot I could do.
33:52I'm trying to complete, well, not complete, but to add a bit of depth to the painting in terms of its relationship with time and place.
34:08Artists, your time is up.
34:18Please, put down your equipment and stand back from your easels.
34:25Kingdolls!
34:40After 36 years of service to Trelissac,
34:43former head gardener Barry Champion and his wife Lynne
34:46are first to see the finished works
34:48and will choose one as a reward for their dedication.
34:52Lovely colours.
34:56Now you mention colour.
34:58This is very vibrant, isn't it?
35:00It's really in your face. Wonderful.
35:02Really good. Excellent.
35:05Entirely different in style.
35:06Oh my goodness, that's caught the house beautifully.
35:09The oak there has got a branch cut off.
35:13I cut that.
35:15By chainsaw.
35:17It's going to be difficult to select one out of the eight, isn't it?
35:21Which do you think would give you most pleasures reflecting the place you know?
35:25Yeah. This one.
35:26This one here, yeah.
35:27This is the one?
35:28Yeah.
35:29Oh, thank you, it's lovely.
35:30It's lovely.
35:31They were all lovely, but that is just how it looks.
35:34Just beautiful.
35:35Not so far.
35:36While the artists head off to get warm, the judges move to the calm of the solarium to look at the work produced today.
35:49I still don't know what I'm supposed to think of this.
35:54And I just feel really frustrated because he was an artist that I just felt was so distinctive and unique.
35:58I enjoyed the performance side of it.
36:01It was a performative art piece.
36:03He's open to the elements and I thought that was quite beautiful.
36:05But what he's made out of it is not a sum of all those things.
36:10I found the day challenging.
36:12The time, um, restraints.
36:17Most of all, challenging to be yourself.
36:23I was really impressed with the fact that she hadn't really used green before.
36:38And she hadn't really painted trees before.
36:41But out of all of the trees that we've had today, I find them incredibly believable.
36:45And I love that scratchiness of the blue inky trees in the distance.
36:50It was an experience that I don't think I'll, er, I'll forget.
36:55I didn't think, er, that I realised how much stress I'd actually end up being under coming the last hour.
37:06I really enjoyed watching Grant paint this.
37:09I think it's, I think it's great.
37:11You know, this is what my afternoon was like in parts.
37:14You know, I was like, what is this weather?
37:16You know, I really felt completely kind of in with the elements.
37:20And that's what he's made me feel here.
37:22I'm feeling good, actually.
37:25Because about halfway through the painting, I didn't really, wasn't really that confident in the way that it was going.
37:33And I think that it turned out better than I expected.
37:38I thought as I looked out over these huge vistas, you know, and when I caught the little dark, dank places, I thought she caught the sort of sodden, rather mysterious undergrowth rather well.
37:56And it's very, um, lickable, all those paints, and oily, and so you move around it rather beautifully.
38:04I think out of everyone, she's, she's bitten off just about the right amount that she can chew.
38:09I don't feel like I've had a chance to even look at the painting yet.
38:13So I just finished it, but I was standing at a distance from it, and I'm pretty happy with where I got in four hours.
38:20I've never had an experience quite where I've been changing my mind so much.
38:24There's so many good little bits of painting here.
38:26The ones that appeal are the ones where the artist has understood how to edit it down.
38:31Yeah.
38:32To help decide who goes through to the semi-final, the judges first reduce eight to three.
38:41The first of those artists is...
38:46Liz Cowley.
38:50And the second artist...
38:57Is Grant Wood.
39:01And the third artist to be shortlisted is...
39:12Emma Copley.
39:15Emma Copley.
39:24Commiserations to all the artists who didn't quite make it, but it was a tremendous effort. Well done.
39:29APPLAUSE
39:36I think the whole experience of just being here is...is...is...is plenty for me today.
39:42Obviously slightly disappointed, but I do respect the decision, and I think I'm quite happy with that.
39:51Before they settle on who makes it through, the judges talk to Liz Grant and Emma about their original submissions and today's work.
40:01Liz, the way you've painted these trees behind the house, these beautiful spindly blues, it's utterly inspired. I just love it.
40:08But actually, it's not really so much of painting about the trees. It's actually the house. That's the main component of it.
40:15Did you know quite early on that you wanted to include it and let it be such a presence?
40:19Yeah, definitely. It's...I mean, it's a beautiful house. It's one of my favourite in Cornwall, I think.
40:24I'm surprised that they picked me, to be honest. And, yeah, I'm really glad that the pieces that I made resonated with them and that they were interested in them.
40:30I'm curious as to why you chose this particular subject matter for your submission.
40:40It's one of my most favourite subjects to paint, and I thought that it showed a nice variety of approaches to different textures.
40:48From your perspective, would you do more to this painting, or are you satisfied with it?
40:53I would be satisfied with it, in the state that it's in now, because I think it has a pretty fresh sense of the day and the space.
41:02I think it's a toss-up, but, I mean, I think between the three of us, it'll be fair ground.
41:10This one is, I find, much more evolved. They feel different.
41:15I mostly was trying to evoke a feeling. That was my goal for the four hours, is to get some kind of feeling.
41:22That was pretty exciting for me, to realise in four hours I could do something that I'm quite happy with.
41:28The other two artists' work is fantastic, and I'm really chuffed to be part of the group of three.
41:34Esteemed judges, I am in a complete tizzy, because for the first time ever, I totally agree with your three choices.
41:49We can change them!
41:51But, I must say, and now I feel as obviously a certain empathy with you, I am finding picking the actual winner a bit more difficult.
42:01I keep on coming in and out with regards to which one I think is the winner.
42:04Is judging a democracy, is it two to one? How does it work?
42:08We try to be unanimous.
42:10I think that's actually what's lovely, is you come to a painting through the eyes of someone else, who's, you know, who's seen a whole catalogue of paintings you've never seen, and they bring their experience and their perspective.
42:19It's left me in a position, though, where I am really struggling to know who my winner is.
42:23Talking to them also throws a whole different thing into where you're saying, God, you're very authoritative and know exactly what you're talking about.
42:29And that's thrown me off as well.
42:32Do you feel you have your winner now?
42:3580% sure, isn't it?
42:37Yeah, I'm 80% sure.
42:39But if I'm gonna just turn around in a minute and I'll probably change my mind again, but I think that's just because we've had such a fantastic day.
42:44There's just some really interesting paintings.
42:46Good luck.
42:47Okay, get on with it.
42:48Liz, Grant, Emma, congratulations to each of you for reaching the shortlist and the work of each one of you has really impressed the judges, which means, of course, it's been very difficult for them to decide.
43:08But they have decided, and the judges felt that the artists they have chosen to go through to the semi-final has displayed an ability to capture the spirit of the place and has showed a capacity for innovation.
43:21And that person is Emma Copley.
43:34Congratulations.
43:35Congratulations.
43:36To win is just amazing.
43:37I'm shocked.
43:38It's our decision and that's a lovely work.
43:39It would have been nice to have gone to the semi-finals, but I don't know if my nerves would have made it. I don't think I would have held up.
43:54It was hard fought, I tell you.
43:56I love Grant's boat. I loved the grass and Emma's piece she submitted, so it could have been either one of them. I didn't think it was me, but it could have been either one of them.
44:07You look so shocked.
44:09We genuinely am.
44:10Well done.
44:12I'm just really, really pleased. I got a real confidence boost today in my painting.
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