1901 (August 24) Born Pauline Ellen White in Colorado City, Colorado, August 24, 1901
It is not known when Peavy changed her name to Paulina. Her father was Cassius White, and her mother was Bertha (née Peterson). Peavy herself twice said she was born in Colorado City. The first time in 1954 in a pamphlet she wrote for the Nobema Products Corporation when it produced her Lacamo Block Manikin, an articulated block manikin. The second time is when she was introduced on the Long John Nebell WOR radio show in 1958. The family, however, claims that Peavy was born in Colorado Springs and that this the birthplace listed in her obituary.
c. 1906 Peavy’s family moved to Portland, Oregon, perhaps by 1906, since Paulina is said to have attended elementary and high school there.
1907 or 1910 Mother dies from a miscarriage.
In her 1993 unpublished, 194-manuscript-page book, The Story of Life with a “UFO,” Peavy claims she was six when her mother died. In her 1987 film, UFO Identified, she claims she was nine at the time.
c. 1915 Peavy enters Girl’s Polytechnic School in Portland.
In her manuscript book, The Story of My Life with a “UFO,” she described the school as “a two-year course mainly in cooking and sewing, with but a few education courses.” She also writes that “it was my father’s belief that education would be wasted on girls ----- as they only shall marry and bear children” (Page 57).
1919-1923 Peavy attends Oregon State College (today Oregon State University) in Corvallis, Oregon, and graduates with a Bachelor of Science degree in vocational education.
There she probably met her future husband, Bradley A. Peavy (b. 1890), whose father, George Wilcox Peavy, was Dean of Forestry at the time and would become acting president of the college in 1932. He was installed as president in 1934, retiring in 1940, when he became mayor of Corvallis.
1922 (June 23) Paulina White marries Bradley Peavy.
1924 (December 19) Peavy gives birth to her first son, Bradley Adelbert Peavy in San Pedro, CA.
1926 Peavy gives birth to her second son, Wesley R. Peavy in San Pedro, CA.
1920s The Peavy family lives in San Pedro, California, “in a trailer court,” according to brief biography written by Wesley Peavy, Paulina’s second son.
Wesley reports that his father was a drunk who periodically beat his mother.
c. 1930 Peavy contracts tuberculosis and enters a sanitarium. Her husband takes the children to Oregon, to his parents’ home.
Upon release from the sanitarium Peavy drives to Oregon with her sister, Juanita, and when the grandparents are not home she retrieves her children and heads back to California. Her father-in-law, George Wilcox Peavy, has the police intercept them on the highway and take them back to Corvallis. Later in the year, Paulina gains custody of the children and takes them to Long Beach, California, where she settles. At some point, perhaps at this time, her husband, Bradley abandons the family and begins a career in forestry, eventually remarrying. He will periodically write his children and send money.
1932 Peavy puts Bradley and Wesley in an orphanage, The Boys and Girls Aid Society in Pasadena, which she periodically visits.
The boys stay in the orphanage until 1939, when Peavy brings them to live with her at 221½ Thermal Avenue in Long Beach.
Ca. 1932-1942 Peavy teaches art for the Board of Education in Los Angeles, after which she teaches art for the Board of Education in Long Beach.
New York newspaper articles from the 1940s, based on information obviously provided by Peavy, claim that in Long Beach she taught, at different times, either middle school or high school. Peavy claimed in an undated resume to have taught at Long Beach Junior College, which was then a satellite of the University of California, Los Angeles. No dates are given for when she taught there.
Also, at some point in the 1930s, Peavy, claims on her undated resume (a resume that also has no dates for any of her activities) to have gotten an “Advanced scholarship ” at the Chouinard School of Art (today the California Institute of Technology). She also claims to have gotten an M.A. degree.
On her resume, Peavy also claims to have been an “architect” during this period and to have won a “3rd prize, architectural competition, Beverly Hills,”. Her grandson, Andrew Peavy (who died in March 2016), said that she was the architect for her home in Long Beach, CA. In her book The Story of My Life with a “UFO”, Peavy herself only claims to have overseen the construction of several homes in Long Beach.
1932 Peavy begins attending séances at the home of spiritualist Ida L. Ewing in Santa Ana. Peavy attended Ewing’s séances every weekend for the next 10 years.
This information comes from Peavy herself in her book The Story of My Life with a “UFO” (page 3, although this page is out of order in her manuscript and appears after page 6). Peavy describes Ewing as “a trance medium” who channeled the voice of a UFO (by which Peavy means a spirit, or to use her own terminology, “a spirit ghost”) named Lacamo (pronounced LA-CUM-MO, with emphasis on the first syllable), who would reveal to her the secrets of the universe and become her muse, guiding her in her art as well as in life. Peavy would occasionally sign Lacamo’s name along with hers on her art.
Peavy also labeled Lacamo as “the great IFO,” meaning the “great Identified Flying Object”; she is identified as opposed to being anonymous. While Lacamo seems to have come to Peavy as a voice (or as Peavy put it, an electronic transmission), she could also take on many forms, including that of a human. She once came as a blue panther (in another source, her 1987 film UFO Identified, she claims the panther was black), which sat by her bed; another time she appeared as a skeleton; another as a spider spinning a silver web; and a third time as the Roman goddess of dawn, Aurora. On another occasion, she came as “a male,” and together they traveled prone, like Superman, “through the belly of the Spinx.” Lacamo often, if not always, guided Peavy when she was painting. While painting, Peavy often wore masks of her own design in order to channel Lacamo’s electronic communication to her. It is not known when she first used masks. Lacamo would remain Peavy’s companion for the rest of her long life.
In other sources, Peavy assigns other dates to her first encounter with Lacamo and with UFOs. They are listed below in the chronology.
Ca. 1933-1942 Peavy claims on her dateless resume to have exhibited at the Civic Center Museum of San Francisco, Stanford University, the Gumps Gallery in San Francisco, the Stendahl Gallery in Los Angeles, and the Palos Verdes Gallery in Palos Verdes.
Peavy claims that these were one-person exhibitions. There is no verification for any of these exhibitions, which does not mean they did not happen. The Stendahl Gallery was one of the premier California galleries, specializing in California artists, such as Guy Rose and Willian Wendt, and it showed such world-renown artists, such as Matisse, Klee, Kandinsky, Chagall, Brancusi, Siqueiros, and Rivera. The Gumps Gallery was the first gallery in San Francisco. It opened in 1861 as a high-end gilded-frame shop to take advantage of the new riches generated by the 1848 Gold Rush. In the following decade, it expanded into an art gallery carrying high-end European art and remaining one of California’s premier galleries until 1958. (Gump’s San Francisco still exists today, specializing in home décor and jewelry.) Peavy’s listing of the “Palos Verdes Gallery” could be what is today the Palos Verdes Art Center, which was founded in 1931. In the 1954 pamphlet Peavy wrote to accompany her “Lacamo Block Manikin,” Peavy claims to have also shown at “the Los Angeles Museum,” probably a reference to the Los Angeles Museum of History, Science and Art, today the Los Angeles County Museum of Art.
1939-1940 Peavy exhibits her 6 x 14-foot Last Supper at the Golden Gate International Exposition.
It is not known where the “mural” was shown at the Golden Gate International Exposition, which was held on the newly-created Treasure Island in San Francisco and honoring among other things, world trade, especially that on the Pacific Rim. Peavy begins to repaint her Last Supper, which she renamed the Eternal Supper of Building Blocks and Peaks and later Crystallization of Matter. It is unknown when she began to repaint her mural, we do however know that the process continued over many years.
1938-40 In her film 1987 film UFO Identified, Peavy claims that she had her first encounter with a UFO at the Golden Gate International Exposition, where she was exhibiting.
The UFO who came to her was named Lacamo. She refers to the fair as the San Francisco World’s Fair and claims the encounter was in 1938, a year before the fair opened.
1941 Peavy has an exhibition at the “San Diego Museum,” according to a statement she made at the end of her 1987 film UFO Identified. She implies that it was a one-person exhibition. In the film, she also claims that a UFO named Miriam came to her at the museum, and that this was her second encounter with a UFO.
1942 Peavy moves from Long Beach to New York, New York.
It is not known why Peavy moved to New York. There she taught school. In her manuscript book, The Story of My Life with a “UFO,” Peavy writes, “And so obviously it was in my destiny to move to New York in 1942” (page 12).
When she moved, Peavy brought her son Wesley with her. The older brother, Bradley, had entered the navy. Wesley attended high school in the Clinton neighborhood, suggesting Peavy lived on the West Side. She would live in New York until 1998. On her undated resumes she lived at 41 West 51st Street (just off of Fifth Avenue), 390 West End Avenue and 320 West 78th St. According to her granddaughter, Peavy generally lived on the Upper West Side of Manhattan in order to be near Harlem, where she taught art at public schools.
1942-1943 Peavy exhibits at the Delphic Studios, New York City. Nothing is known about this show, including whether it was a one-person show or a group show.
1943 Peavy has a one-person exhibition at the Argent Gallery in Manhattan.
The exhibition was probably late in the year, since the show was reviewed in December in Art Digest by a critic by the name of Maud Riley. The article was titled “’Electronics’ in Paint.” A second article, titled “Mystic Symbolism,” appeared in the New York Times in an unsigned article. Both articles refer to paintings. In her book, The Story of My Life with a “UFO,” Peavy claims that there was an article in the New York Herald Tribune in December 1943.
Ca. 1943-1954 In her undated resumes and a 1954 pamphlet published in conjunction with her commercially released Lacamo Block Manikin, Peavy claims to have also had exhibitions at the Hartert Galleries, the Jurart Galleries, and the Roxy Theatre, all in New York.
These shows had to have taken place between her arrival in New York in 1943 and the date of the pamphlet’s publication, 1954.
Ca. 1943-1990s Peavy lists on her undated resume that she showed at the Lacamo Gallery, which according to her descendants was her own home.
Ca. 1942-1970s According to Peavy’s resume, she works as a “Naval Arch., draftsman,” at Gibbs & Cox in New York City”; as an “Electrical Eng’r draftsman” at Slocum & Fuller, New York City; as an “Artist-draftsman” at Design Service in New York City; as a “Map-draftsman” at Tippetts, Abbott, McCarthy & Slocum, New York City; and as a “Designer, dress and accessories” at Audran, New York City.
1946 (November 15-26) Peavy has a one-person exhibition at the Lawrence Terzian Gallery, located at 545 Fifth Avenue, Manhattan.
The show, titled “Genesis, Atomic Forces of Nature,” was reviewed by Margaret Madra in the Brooklyn Eagle in an article “In Awe of Creative Powers, Impressionistic Painter of Biblical Parables Has Theories on Atom.” According to the gallery press release, a copy of which is in the archives of the Museum of Modern Art, the show consisted of 11 oil paintings on gessoed panel and all depicting “birth”-----the multiplying power of the human atom, or life cell.”
1946 In her book The Story of My Life with a “UFO,” on page 17, Peavy claims the she is cited in the Roxy Theater Bulletin (June 12), as having “an unusual display now being shown in the Roxy rotunda.”
1948 March 23rd bulletin of the American Cancer Society explains Peavy, and five other painters, display their art in Fifth Avenue Department stores for the cause of cancer awareness.
1954 Nobema Products Corporation of New York produces Peavy’s Lacamo Block Manikin, a manikin made of articulated geometric blocks that allows the user to put the figure into a variety of poses.
According to the booklet accompanying the manikin, Manikin Art Figure Drawing, Peavy conceived of the manikin some ten years earlier, just after arriving in New York. According to the brochure, the manikin was designed to be used by art students, costume designers, painters, sculptors, illustrators, and window display designers.
1958 (January) Peavy is interviewed by Long John Nebel on WOR radio, New York, New York.
John Nebel hosted an extremely popular midnight to 5:30 a.m. talk show that featured guests who had had paranormal experiences. For the most part, Peavy, who, according to Nebel, is wearing a mask during the broadcast, is in trance, during which she communicates with “UFOs,” not just Lacamo. To listen to Peavy’s interview, go to the following links:
1959-1973 (January to June 1973) Peavy writes: “Various Kinds of Dissertations” a 221 page book explaining conversations and trances with Lacamo, as well Peavy’s worldview. Copyright: 1993
1960, Peavy writes a poem, “Voice From Higher Dimensions,” that she claims is “voiced through Lacamo (developed as an awake trance medium)”. Copyright: 1993
It is not known when Peavy began writing poetry. However, this is the earliest known dated poem.
1964 (January 23) Peavy is granted a patent (72185234) for Mask-Ezz.
Peavy described this product in her patent application, as “adhesive facial covering devices and the like described as self-adhesive skin covering devices in sheet form, the adhesive layer of which impregnated with substances conducive to stimulating heating of the skin and layers therebelow [sic] when placed against the skin.”
1981 Peavy receives a Bronze Award at the International Film & Television Festival of New York for her film “Paulina, Artist-Philosopher, An Artist of Vision.”
According to the Oregon State University newspaper, she received the award for her “artistic vision and directing.” Apparently, Peavy began to focus on filmmaking in the 1980s, although she continued to make fine art.
1982 Peavy again receives a Bronze Award at the International Film & Television Festival of New York, this time for “Mountain of Myrrh.”
1983 Peavy again receives a Bronze Award at the International Film & TV Festival of New York, for “Is the Moon a Burned-out Sun.”
1984 Peavy received a Silver Award at the International Film & TV Festival of New York for “Male Sex.”
1985 (August) Peavy produces a film titled “The Artist Behind the Mask,” which wins a bronze medal at the 28th Annual International Film & TV Festival of New York.
According to Peavy’s bronze medal certificate from the Festival, she received the award because “in recognition of an outstanding creative achievement in an audio-visual medium.”
1987 Peavy makes a film titled UFO Identified, in which she explains what UFOs are and when she first encountered them.
1988 Peavy makes her last known film titled Phantasma, Sixty Oil Paintings, A Series A Self Portrait.
The film features the paintings in Peavy’s Phantasma series, each of which is 24 x 30 inches. The camera pans over these paintings, accompanied by music, without any voice-over.
Late 1980s Peavy writes an unpublished book, which exists as a 194-page manuscript and is titled The Story of My Life with a “UFO.” Copyright: 1993
The history of the book is unknown, but most likely Peavy had to have begun it after the mid-1980’s since on page 2 she refers to Alzheimer’s Disease, which did not become a prevalent concern until after 1977, and on page 28, she refers to the Acquired Immune Defeiciency Syndrome (AIDS), which did not come into public focus until 1982. On page 11, she writes that Lacamo had been coming to her “for over 60 years,” On page 54, she writes about the Statue of Liberty having been renovated in the 1980s. On page 131, she talks about a Mayan artifact that was discovered in 1977.
Peavy also copyrighted four other manuscript books in 1993. One is titled Various Kinds of Dissertations, which is a compilation of writings that date between 1959 and 1973. A second is The Mad Nightingale In Search of God; A Spoof On Psychology, Biology, Sexology, Symbology, Government, and Religion, which according to the title page was authored by “Paulina & Lacamo.” The introduction claims “The purpose for this story is to relate- in the form of a parable- the strange social customs that have been handed down the ages (sic)o- and that- now are changing.” (Peavy often used a hyphen in place of a comma.) The form of the book is fictive novel.
A third book is the Psychology of Art and Composition, which has no text and is basically a design book with each page dedicated to a single issue, such as “Movement through Pyramidal Shapes,” “The Balancing of Forms in Space by counter-Movement,” “Distortion as a Law of Physics,” and “Horizontal & Vertical Lines & Shapes.”
And a fourth manuscript is Philosphy & Poetry, which cites the authors as “Paulina & Lacamo,” and claims “The PHILOSPHY” as of the title of this book- refers to the constant tutelage of PAULINA- by the great “UFO” mentor that she calls- “LACAMO.” There is nothing in the content of the last three manuscripts to indicate when they were written.
Ca. 1996 Peavy begins to show signs of dementia and her son Bradley arranges for part-time assistance for her.
Ca. 1998 Peavy breaks her hip and her dementia increases dramatically. Her son moves her to a nursing home in Bethesda, Maryland, near where he lives.
1999 Peavy dies in Bethesda, Maryland, at the age of 98.