The new installment of Portrait Artist of the Year 2025 episode 5 begins with artists facing lights, cameras, and chaos. Three of the self-portraits submitted for the heat show artists in the calm of their studios. Today, however, they face a ticking clock and the pressure of a live audience. They must rise to the occasion or risk painting themselves into a corner. The winner of this heat will clinch the next spot in the semi-final.
This is more than just a high-stakes art competition. The ultimate prize at stake is a prestigious £10,000 commission. The winner will be tasked to create a portrait for the esteemed Royal Society. This commission holds significant cultural weight.
The subject of the commission is the award-winning mathematician and broadcaster, Professor Hannah Fry. Furthermore, the completed portrait will celebrate the 80th anniversary of the first women elected to the Royal Society fellowship. These pioneers were Professor Kathleen Lonsdale and Professor Marjorie Stevenson. This context adds a layer of history and importance to the Portrait Artist of the Year 2025.
In this heat, nine artists compete for the prize. They are professional artist Han Han, fine art graduate Mario Cervantes, and volunteer coordinator Hannah Barker. Joining them are painter Verity Ewer-Jones, sixth-form student Ruby Mitchum, and gardner Daniel Badger. The lineup is completed by art tutor Lauren Ross, figurative painter David Maddock, and psychotherapist Fiona Daly. Each artist has four hours for the portrait painting.
This painting challenge pits the artists against three celebrity sitters. The sitters for Portrait Artist of the Year 2025 episode 5 are actress Emily Atack, DJ Melvin O’Doom, and musician Max Beasley. Deciding the artists’ fate are the three judges. They are art historian Kate Bryan, curator Kathleen Soriano, and award-winning artist Ty Shan Sheeranberg.
The day begins as the artists arrive, one feeling like a “hair in the trap.” The judges first convene to discuss the nine self-portraits submitted by the competitors. This initial review provides a crucial window into each artist’s style, technique, and psychological focus. It sets the baseline against which their four-hour challenge work will be measured.
Portrait Artist of the Year 2025 episode 5
The Judges’ Initial Assessment: A Wall of Self-Portraits
The judges gather before the wall of submissions, evaluating the works that earned each artist their spot. This collection provides a diverse look at contemporary portraiture, from frenetic energy to quiet introspection. These self-portraits are the opening statements in this demanding art competition. They offer clues to how each artist sees themselves and the world. The judges must now decode these clues.
Fiona Daly’s submission immediately captures the judges’ attention. It is a diptych, a meditation on aging. One panel features a baby being washed in a sink. Ty Shan Sheeranberg, himself a new grandfather, notes the intimacy of the scene. He praises the “grubbiness” of the paint application, which prevents the “squidgy” baby from being overly sweet.
In stark contrast, Daniel Badger’s work is described as a “love letter to fabric.” It is an extraordinary piece created entirely with a biro, or a common ballpoint pen. Kate Bryan is mesmerized by the textures on the shoe. Ty notes the “unselfconscious gaze” often found when artists scrutinize themselves. The lines seem to mold the figure.
Meanwhile, David Maddock’s self-portrait conveys “frenetic energy” with its dynamic brush strokes. The head is almost an afterthought, yet it grounds the piece as a portrait. Kathleen Soriano interprets it as a “portrait of what it is to be an artist.” It captures a world in flux and the artist’s struggle to capture it.
Hannah Barker’s piece presents a “clash of modern and not so modern.” It depicts an almost pastoral scene, yet the figure is wearing headphones. The judges are intrigued by this juxtaposition. It creates an ambiguity about time and place.
Ruby Mitchum’s self-portrait is incredibly intense. The judges are sucked into her gaze. They note it has a quality that feels “centuries old.” This feeling is enhanced by a lighter phase around the head, which almost becomes religious. Her left eye is obscured, making the one visible eye “pinning you down.”
Conversely, Verity Ewer-Jones’s submission is a portrait of “painter’s block.” The artist sits at her easel, coffee cup nearby, unable to work out what to do next. The judges recognize the feeling. The work is also praised for its skillful rendering of a fluffy jumper.
Han Han’s portrait is also a study of the artist. It includes personal objects like birthday balloons. It reflects a feeling of being pulled in many directions. The judges note the way she engages the viewer directly.
Mario Cervantes submitted a painting of the back of his head. This is a part of his body he rarely sees. The judges find this original, intriguing, and “gorgeous.” It feels both “fleeting” and “very present” at the same time.
Finally, Lauren Ross’s self-portrait is another study in creative frustration. The judges note the thick black outline and the large amount of blank space. However, they praise the “amazing” stripes on her shirt. They convey volume and fabric texture. It suggests an artist trying to appear effortless while caring deeply. These submissions set a high bar for the Portrait Artist of the Year 2025.
The Sitters and Their Stories
Following the review, the three celebrity sitters are introduced. The nine artists are divided into groups of three, each group painting one sitter. The sitters are actress and comedian Emily Atack, Radio 1 DJ Melvin O’Doom, and actor and musician Max Beasley. Each sitter also brings a personal object to help the artists find a narrative.
Emily Atack, known for The In-betweeners, discusses her persona. She describes herself as “outspoken and vivacious and a bit silly.” However, she hopes the artists capture the vulnerability beneath. She mentions a “shy quite gentle nature” underneath the “eyelashes and the tan.”
Emily’s object is deeply personal. She wears her grandma’s ring. Her grandmother gave her the ring just a couple of days before she passed away. The ring, which she says looks like a disco ball, is small but “deep and meaningful.”
Melvin O’Doom takes his seat next. He admits he has a “weird thing” where he actually likes being drawn. He feels like someone is really taking time with him. He is, however, surprised to learn the sitting is four hours long.
Melvin’s object is a bracelet given to him by his grandmother. He explains that it is meant to “ward off evil spirits.” He received it when he went to Ghana for the first time. The bracelet, though now broken, reminds him of his loving grandmother.
Finally, Max Beasley is introduced. He is known for roles in Hotel Babylon and The Gentleman. He notes that his wife always complains he is “too serious.” He hopes the artists can capture some “light and happiness.” He wants to portray the “fun chap” he used to be for this painting challenge.
Max brings two objects, unable to decide which was more important. The first is a necklace he bought for his mother with his first paycheck as a musician at age 18. He found it among her personal things after she passed away. The second object is a Saint Christopher necklace from his wife and children.
The Four-Hour Painting Challenge in Progress
With the sitters in place, the four-hour clock begins. The artists must now create their Celebrity Portraits under immense pressure. They deploy a wide range of strategies to tackle the limited time. Some, like Lauren Ross, write tips for themselves, with the first tip being “just sit and think.”
Hannah Barker, painting Max Beasley, decides to work on a large scale. She uses colored pastel pencils, focusing on line and texture. She jokes that her decision to go big was not a reaction to Max’s “larger than life” character.
Mario Cervantes, also painting Max, stays true to his submission. He works entirely from life, eschewing photographs. He begins with a striking blue drawing, searching for features and balance. He wants the composition to have weight at the bottom.
Daniel Badger, painting Melvin O’Doom, uses his signature tool: a normal biro. He is mesmerized by the medium. He loves the contrast he can achieve with it. He focuses on capturing the “sparkle” in Melvin’s eye. This portrait painting will be built line by line.
Han Han, painting Emily Atack, begins with the eyes. She finds a lot of expression and character in them. She hopes to transfer the energy she sees in Emily’s pose into the painting.
Ruby Mitchum, the sixth-form student, is also painting Emily. Despite her age, she is already painting professionally. She admits to holding a “mock portrait artist of the year day” with her parents as judges to practice. She methodically builds her painting, saving the face for later.
Lauren Ross, painting Melvin, reveals a compelling backstory. She first competed in series two of the show, ten years prior, when she was just 18. Now, her work explores narrative and symbolism. She plans to incorporate Melvin’s bracelet, suggesting he is “contemplating his family and his heritage.” She is a returning portrait artist with a new vision.
Verity Ewer-Jones, painting Emily, works on a wood panel. She likes using the wood as a pre-existing mid-tone. This allows her to avoid a wash and let the material show through. She uses her distinctive style of bold black outlines and dry brush marks. She aims to capture the “fierceness” and “attitude” in Emily’s direct gaze.
David Maddock, painting Melvin, employs his expressive, painterly style. He places Melvin’s head right at the top of the canvas. He explains that the “whole person” is important, not just the head. He wants to capture Melvin’s relaxed but pensive posture.
Fiona Daly, painting Max, works on a very smooth surface. She loves that the paint “slides.” She finds this harder to control but likes that it stops her from being “very picky.” She tends to look up at her subjects, giving Max a “beatific,” upward gaze.
Judges’ Critique: Portrait Artist of the Year 2025 Episode 5 Mid-Point
At the halfway mark, the judges pause to discuss the artists’ progress. They analyze the developing works, noting both strengths and potential pitfalls. This mid-point review for Portrait Artist of the Year 2025 episode 5 reveals the high stakes of the art competition.
They begin with the artists painting Melvin O’Doom. Ty thinks Daniel Badger’s biro work is “phenomenal.” However, he worries it looks “quite conventional” compared to his more dynamic self-portrait.
The judges observe the bold color choices from Lauren and David. Both are using acid greens and oranges. David’s approach is “fast and loose,” full of energy. Meanwhile, Lauren’s bright yellow background is a “real risk.” Kate notes it is “five steps removed” from the actual background.
Next, they turn to the group painting Max Beasley. Mario’s beautiful blue under-drawing is praised. The judges’ nervousness, however, is that he might “lose the freshness” as he adds more paint.
Fiona’s portrait of Max has a “heroic gaze” and is “very poised.” Kathleen loves the tonality of the head. Their concern is whether she has enough time to bring it to the highly resolved, polished state of her submission.
Finally, they assess the Emily Atack group. Kathleen loves Han Han’s “glistening” eyes. She praises the “clumsy serpentine” brushwork that skillfully gives volume and a sense of “flesh.”
The judges are worried about Ruby Mitchum. Her process of leaving the face until last is “disconcerting.” Ty feels she is “leaning on a lot of crutches,” like gridding up the face. He senses she is nervous and not letting herself go free. Kate gently reminds him, “She’s 17.”
They find Verity Ewer-Jones’s work a bit “startling.” Her process seems formulaic, like “I’m going to do A and I’m going to do B.” Despite this, they agree the painting is “very well structured.” They hope for more “organic messy stuff” to come.
The Sitters’ Verdicts
As the grueling four hours conclude, the artists are told to step away from their easels. It is a hard thing for many, who feel they should just keep going. The artists then turn their easels to reveal their work to the sitters. Each sitter must now choose one of the three portraits to take home.
Emily Atack is the first to see her portraits. She gasps, “Holy guacamole.” She is visibly moved. She praises Han Han for capturing her “awkward smile,” calling it an “intimate detail.” She then tells Verity Ewer-Jones she loves the “elegant pose” and the inclusion of the ring.
When Emily sees Ruby Mitchum’s painting, however, she has tears in her eyes. “It’s really beautiful,” she says, blaming her emotions on just having a baby. She tells Ruby, “You are just so clever,” and calls her a “role model for young people.” Because her picture made her so emotional, Emily chooses to take Ruby’s painting.
Next, Melvin O’Doom views his three portraits. “Yo! That’s amazing,” he exclaims. He tells Daniel Badger his work is “incredible.” He jokes that the beard in the portrait “looks better than my real beard.” He loves that Daniel captured both his “cheekiness” and the “seriousness” of his eyes.
Melvin then tells Lauren Ross her painting is “so dope.” He loves the “amazing” color and the “blessing” of his grandmother’s bracelet. He also compliments David Maddock’s work, loving the “shape” and “colours.” He says, “I look like you wouldn’t mess with this version of me.” After deliberation, Melvin chooses to take home the portrait by Daniel Badger.
Finally, Max Beasley sees his paintings. “Oh, wow,” he says, rendered speechless. He tells Mario Cervantes, “I wouldn’t mess with this, Max.” He sees it as the “introspective part of my psyche.” He praises Hannah Barker’s “cheeky” side-eye and “unbelievable” eyebrows.
Max calls Fiona Daly’s portrait “heroic.” He is amazed by the eyes, stating, “They look totally alive.” He explains that his choice will be for his daughters. For that reason, he selects Fiona’s painting to take home. Each portrait artist receives high praise.
Portrait Artist of the Year 2025 Episode 5: The Final Decision
With the sitters’ choices made, the judges face their most difficult task. They must select one artist from the nine to advance to the semi-final of Portrait Artist of the Year 2025 episode 5. After deliberation, they announce a shortlist of three artists: Fiona Daly, Lauren Ross, and Han Han.
The judges then compare the artists’ work from the day against their original self-portrait submissions. This comparison is key to understanding their consistency, adaptability, and core artistic vision. They need to choose the best portrait artist of the day.
They discuss Han Han first. The judges note her two paintings are in completely different styles. She clearly adapted her technique for the four-hour time limit. However, Kate Bryan argues that both portraits share a “knowing openness and vulnerability.” Both figures look “assured” and occupy their own universes.
Next, they analyze Fiona Daly’s work. Ty notes she has a “Wicklow Hills serenity” that translates into her painting. Kate adds that “she’d find the goodness in you.” The judges agree she made smart “shortcuts” with her style to finish on time. She managed this without compromising the “lusciousness” of the paint.
Finally, the judges turn to Lauren Ross. They observe that both her self-portrait and her portrait painting of Melvin are “introspective, thoughtful figures.” Ty admits he did not think the likeness was working at first. Then, when the beard went on, “it looks like Melvin.” The beard pulled the whole thing together.
Kathleen Soriano praises Lauren’s boldest move. The use of Melvin’s bracelet as a “halo” is “so out there, but it works.” It connects directly to the narrative-driven world of her self-portrait. She “takes us into her own world and makes things believable.”
The time comes for the final announcement for this art competition. The judges reveal their choice. The artist chosen to go through to the semi-final is Lauren Ross.
The judges explain their decision. They describe Lauren’s work as a “sensitive work with storytelling and luminosity.” Kathleen calls the portrait “so luminous” and “so powerful.” She states that it “contains such a sensitive portrait of Melvin.” She concludes, “And I think that is rather magical.”
Lauren, who first competed a decade ago, is “so shocked,” saying, “It doesn’t really feel real.” She now moves on, excited to dive into the semi-final painting challenge.
The Art of Transformation: When Second Chances Paint New Possibilities
Lauren Ross’s victory in Portrait Artist of the Year 2025 episode 5 isn’t just another competition win—it’s a testament to the transformative power of perseverance and artistic evolution. Ten years ago, she stood before these same judges as an 18-year-old hopeful. Today, she returns with a mature vision that weaves narrative, symbolism, and technical mastery into something the judges called “rather magical.” Her journey reminds us that artistic growth isn’t linear; it’s a spiral that circles back with deeper understanding each time.
What makes this heat particularly compelling is how it showcases the beautiful tension between artistic identity and adaptability. Each of the nine competitors faced the ultimate creative crucible: maintaining their unique voice while racing against an unforgiving four-hour clock. Han Han completely shifted styles between her self-portrait and live work, yet preserved that essential “knowing openness.” Fiona Daly found “shortcuts” that honored rather than compromised her luscious paint application. These aren’t compromises—they’re evidence of artistic maturity, the ability to stay true to your core vision while responding intelligently to constraints.
The judges’ decision to honor Lauren’s boldest choice—transforming Melvin’s grandmother’s bracelet into a luminous halo—speaks volumes about what elevates portrait painting from mere likeness to meaningful art. This wasn’t just clever symbolism; it was empathetic storytelling that connected Melvin’s heritage, his grandmother’s protection, and his contemplative presence into a unified visual narrative. In an era dominated by quick digital captures, this human-centered approach to portraiture feels both refreshingly old-fashioned and urgently relevant.
For aspiring portrait artists watching this competition unfold, the lessons are clear and actionable. First, your self-portrait isn’t just an entry requirement—it’s your artistic manifesto. The judges scrutinized these submissions precisely because they reveal how you see, how you think, and what you value. Second, technical skill matters, but psychological insight matters more. Daniel Badger’s phenomenal biro work and Ruby Mitchum’s centuries-old intensity both earned high praise, but Lauren’s ability to make viewers believe in her narrative world ultimately proved decisive.
The ultimate prize—a £10,000 commission to paint Professor Hannah Fry for the Royal Society—adds historical weight to this creative journey. The winner won’t just create another portrait; they’ll contribute to celebrating the 80th anniversary of the first women elected to fellowship, connecting past pioneers to present achievement. It’s a reminder that portrait painting, at its finest, does more than capture faces—it honors legacies, tells stories, and makes visible what matters most.
As the competition advances toward its semi-final, one truth emerges clearly: the best portrait artists don’t just paint what they see. They paint what they understand, what they feel, and what they believe needs remembering. Whether you’re wielding a ballpoint pen like Daniel or commanding color like Lauren, that’s the standard worth reaching for—and the vision worth developing, even if it takes a decade to fully realize.
FAQ Portrait Artist of the Year 2025 episode 5
Q: What is Portrait Artist of the Year 2025 and what makes episode 5 significant?
A: Portrait Artist of the Year 2025 is a prestigious art competition where talented artists compete to win a £10,000 commission to paint Professor Hannah Fry for the Royal Society. Episode 5 features nine diverse artists facing a four-hour challenge to paint celebrity sitters under intense pressure. The winner advances to the semi-final, making this heat a crucial stepping stone toward the ultimate prize that commemorates the 80th anniversary of the first women elected to the Royal Society fellowship.
Q: Who are the celebrity sitters featured in Portrait Artist of the Year 2025 episode 5?
A: The three celebrity sitters are actress and comedian Emily Atack, known for The In-betweeners; Radio 1 DJ Melvin O’Doom; and actor and musician Max Beasley from Hotel Babylon and The Gentleman. Each sitter brings deeply personal objects to inspire the artists—Emily wears her late grandmother’s disco ball-like ring, Melvin presents his grandmother’s spirit-protection bracelet from Ghana, and Max shares necklaces connected to his mother and family. These meaningful items help artists capture narrative depth beyond physical likeness.
Q: How does the four-hour painting challenge work in the competition?
A: Artists are divided into three groups, with each group assigned one celebrity sitter for the entire four-hour session. They must create a complete portrait from scratch while managing time pressure, live audience presence, and the psychological intensity of capturing both likeness and character. Furthermore, artists employ diverse techniques—from Daniel Badger’s meticulous biro linework to Lauren Ross’s bold symbolic storytelling—adapting their usual studio practices to competition constraints. The ticking clock forces strategic decisions about detail, composition, and which elements to prioritize for maximum impact.
Q: Who are the judges evaluating Portrait Artist of the Year 2025 episode 5?
A: The judging panel consists of three distinguished art professionals: Kate Bryan, an accomplished art historian; Kathleen Soriano, an experienced curator; and Ty Shan Sheeranberg, an award-winning artist. They evaluate both the self-portraits submitted for entry and the live four-hour challenge work, assessing technical skill, psychological insight, artistic adaptability, and the ability to maintain creative vision under pressure. Additionally, the judges compare competition day portraits against original submissions to understand each artist’s consistency and range.
Q: What role do self-portraits play in the Portrait Artist of the Year competition?
A: Self-portraits serve as artistic manifestos that reveal how competitors see themselves and approach portraiture fundamentally. The judges scrutinize these submissions for style, technique, psychological depth, and creative vision before the live challenge begins. For instance, Ruby Mitchum’s intense gaze with centuries-old quality contrasts sharply with David Maddock’s frenetic energy capturing artistic struggle. These opening statements establish baselines against which judges measure the four-hour challenge work, determining whether artists maintain consistency or demonstrate valuable adaptability while preserving their core artistic identity.
Q: Why did Lauren Ross win Portrait Artist of the Year 2025 episode 5?
A: Lauren Ross earned the semi-final spot through her luminous, narrative-driven portrait of Melvin O’Doom that showcased remarkable artistic maturity. Specifically, her boldest decision—transforming Melvin’s grandmother’s protective bracelet into a glowing halo—connected heritage, family contemplation, and spiritual protection into unified visual storytelling. The judges praised this “so out there” choice that somehow worked beautifully, calling the portrait magical, sensitive, and powerfully luminous. Having competed ten years earlier at age 18, Lauren’s return demonstrated significant evolution in her narrative-focused approach to contemporary portraiture.
Q: How do sitters choose which portrait to take home?
A: After the four-hour challenge concludes, each celebrity sitter views their three portraits simultaneously and selects one based on personal connection and emotional resonance. Emily Atack chose Ruby Mitchum’s painting because it moved her to tears, praising the 17-year-old as a role model. Meanwhile, Melvin O’Doom selected Daniel Badger’s incredible biro work that captured both his cheekiness and serious contemplation. Max Beasley picked Fiona Daly’s heroic portrait with alive-looking eyes, explaining his choice would hang for his daughters. These selections reflect subjective personal preferences rather than technical merit alone.
Q: What techniques did different artists use during the portrait painting challenge?
A: Artists deployed remarkably diverse approaches reflecting their unique styles. Daniel Badger created his entire portrait using only a ballpoint pen, building contrast line by line. Conversely, Verity Ewer-Jones worked on wood panels with bold black outlines and dry brushwork, letting the natural material show through as mid-tones. Mario Cervantes eschewed photographs entirely, working purely from life with striking blue under-drawings. Lauren Ross incorporated symbolic narrative elements with risky acid-yellow backgrounds. Hannah Barker scaled up dramatically with colored pastel pencils, while Fiona Daly embraced smooth surfaces where paint slides unpredictably but prevents overthinking.
Q: What concerns did judges express during the mid-point critique?
A: At the halfway mark, judges identified specific risks threatening various artists’ success. They worried Daniel Badger’s phenomenal biro work appeared too conventional compared to his dynamic self-portrait. Lauren’s bright yellow background represented a real gamble being five steps removed from reality. Additionally, judges feared Mario might lose his beautiful blue under-drawing’s freshness when adding paint layers. Ruby Mitchum’s process of leaving facial features until last proved disconcerting, with Ty noting she leaned heavily on crutches like gridding. However, Kate gently reminded everyone that Ruby was only 17, contextualizing these technical dependencies appropriately.
Q: What is the ultimate prize for winning Portrait Artist of the Year 2025?
A: The overall competition winner receives a prestigious £10,000 commission to create a portrait of Professor Hannah Fry, the award-winning mathematician and broadcaster, for the Royal Society. This commission carries profound cultural significance as it celebrates the 80th anniversary of the first women elected to Royal Society fellowship—pioneers Professor Kathleen Lonsdale and Professor Marjorie Stevenson. Consequently, the winning portrait connects contemporary achievement to historical milestones, honoring women’s contributions to science while showcasing portraiture’s power to commemorate legacy. The commission represents both financial reward and lasting artistic legacy within Britain’s most prestigious scientific institution.
I liked all the portraits of Emily Atack, but for me, Fiona Daly’s portrait of Max Beasley was the best. I thought she had the best likeness out of the final three artists. This was a really good heat most of the artists were successful.