Fulchers surveys his handiwork with trusted aid, Lorry Sartorio by his side
1964, Heeeeeeeeere’s Barney! Fulcher akimbo in proto-executive bemused stance, and Lorry looking well pleased with the results of their handiwork, Colin is wearing his office Minette Street attire with waring grid checks, knitted tie, rolled sleaves and button-down collar. Lorry in mascara-city with Vermilion hi-neck T, Shiny velour, Vandyke brown and rose-pink Victorian trousers, and low slung belt.They are looking at the contents of Lorry’s portfolio in which Lorry has painted, for maybe the fifth time, a Rose Malmaison rendering of a blob, on an Azure ground. Each time the Malmaison reacts with the Azure and changes its tonal value. This eases the shimmering clash as the eye adapts and readapts to the vibrating color-line at electrical speed. As a result of all the repainting the formerly flat-art has a raised, three dimensional surface that Fulcher enjoys.
This is in the back room at the end of the 1A Leigh Court, 35-foot corridor we used as a shooting arcade on one or two occasions. I had an air-rifle and we’d make impromtu targets and left indented evidence in the door of a raid by deranged air-pellet weilding people.
The set back above their heads was a cornice that covered a mysterious gurgling pipe, which chunked and bribbled at odd moments. You can see evidence of the Fulchurian exactitude in the methodical arrangements of push pins lined up to support some long-gone thing (Mem alert! Er, sorry, not so, that was the way it was when we arrived. So, it is nothing to do with B’s method, exact ot not. I include the item as an example of my perfidious inexactitude when memming.)
If the picture is too big for your support group, write a letter to your local MP.