The painted doorway
Text: an original contemporary arts-feature-style practice extract.
The scenery painter began with a doorway. From the back row, it looked like an oddly narrow entrance, a rectangle waiting for its wall. Around her, the workshop carried on noisily: timber scraped across the floor, someone tested a hinge, and a kettle clicked off. She drew one pale line along the edge and stepped away.
For a while, the doorway seemed to become less convincing. She rubbed out part of the line, studied the empty space and turned the board towards the window. A volunteer asked whether the paint had run short. The painter smiled but did not answer. Instead, she mixed a little more grey, then added a second line that appeared, from where I stood, to lead nowhere.
Later, when the board was lifted beside the finished wall, the two lines met at a corner. The doorway seemed to open into a room beyond the stage. I had watched the painter do almost nothing, or so I thought. The workshop’s loudest sounds had been made by moving wood; the work that changed the scene had happened in pauses, revisions and a line whose purpose was not visible until the rest was ready.
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