In 1932, Paulina Peavy (1901 – 1999) attended a séance in Long Beach, California, where she claims to have met a UFO named Lacamo, a spirit from another world. From that moment forward Peavy, a university-trained artist, painted with a brush that “moved on its own.” In order to better channel Lacamo’s energies, Peavy also constructed and wore masks when she painted, occasionally signing her works with Lacamo’s name alongside her own.
Peavy said she learned the secrets of the universe from Lacamo, secrets that became the subject matter of her art. Over time, she developed a belief that the world evolved in 12,000-year cycles that are broken down into four 3,000-year periods corresponding to the four seasons. Key to Peavy’s philosophy is a belief in reincarnation, and after experiencing a 3,000-year Summer Age, the last of which occurred during the reign of the Egyptian pharaohs, people become spirits, or UFOs, inhabiting the universe as invisible atoms or electronic beams that can take on different forms when descending to Earth from the far reaches of the universe.
Peavy’s entire life was dedicated to promoting her worldview and various philosophies through drawing, painting, sculpture, text and film. Her works on paper, in particular, depict the artist’s individualized visual cosmos using shapes that resemble energy beams, solar systems, and procreative organic shapes signifying genitalia, ova, fallopian tubes, sperm, and fetuses. Peavy’s life and work were constantly evolving to reflect her belief in mankind’s evolution to an androgynous one-sex through contact with aliens.
Paulina Peavy was born in 1901 in Colorado Springs, Colorado. She graduated from Oregon State College (OSC) in 1923 with a Bachelor of Science degree in Vocational Education and completed her MA at the Chouinard School of Fine Art in Los Angeles. As an artist Peavy lived in Los Angeles and San Francisco, California from 1932 to 1942, and later moved to New York City. She died in 1999 at age 98, having witnessed nearly the entire 20th Century. Her work was most notably featured at the 1939 San Francisco Exposition where she painted a fourteen foot mural titled The Eternal Supper, depicting her own philosophical belief in the one-gender perfection.