A few months ago, I helped paint the sets for Maitland Repertory Theatre’s production of Freedom of the City. Written by Irish playwright Brian Friel, and first produced in 1973, the play is inspired by the events of Bloody Sunday. In the recent Maitland version, Director Dianna Galbraith led a talented cast of new and oldcomers. For my part, I enjoyed getting OCD on the woodgraining effects and creating an ‘interpretative dance’ version of the Belfast City coat of arms.
I first discovered woodgraining while sitting in an English pub, vaguely pissed, and bemused to discover that the beer spattered counter was actually wood painted to look like wood. As someone who grew up in Tasmania, where quality timbers are plentiful, I couldn’t quite comprehend the point of this deception. Woodgraining is towards the declasse, or bogan, end of the decorative paint effects spectrum. It’s achieved with a curved lino tool with a handle, lots of Floetrol and some patience. The stained glass window was designed by Frank Oakes, painted by Anne Robinson, and looked very pretty under lights.
Helen Hopcroft: an artist's life 