1. "Earth Poem," Performance Installation created in my studio, 1979-2009. It was installed as a Public Performance Installation over a three day period. It embodies the balance between the landscape of rural country and that of city life and the effects of how we have imparted our industrial life. Mixed media: concrete, wire, steel, straw, stones, pigments wood.
  2. "Earth Poem," 3/4 side view
  3. "Earth Poem," back view
  4. "Sanctuary," Environmental Land Sculpture, 1978-2008. A Mock Shelter Dwelling created with the discards of society. Mixed media: concrete, rubber, bones, stones, dirt, sand stove parts.
  5. "Re-enforce," Environmental Land Sculpture, 1978-2007. 8' x 2' x 4', Mixed media: concrete, stone, reenforcing rod, twine, bone (fragments from our build-it-up, tear-it-down society ...). It is wonderful to see that since I began doing this work in the late 1950's that we are now committed to changing our ways.
  6. "Re-enforce," close up view
  7. "Post Primal," Installation. 20' x 30', 1976-2009. Mixed media: Discarded steel, bronze, bone, pigments, feathers.
  8. "Post Primal," close up view
  9. "Daddy Won't Be Home Tonight," Environmental Installation Sculpture, 1976-2005. 40" x 38" x 32", Mixed media: Antlers, found objects (baby doll hands, plastic), plexiglass, straw, pigments, and concrete slab. Many vineyard owners in our county get permits from the Land Management Bureau to give them permission to shoot deer that come on their land and eat their crops; rather than put up deer proof fencing. Some use low caliber ammunition, severely wounding the deer, but not killing them. The deer die an agonizing death back in the woods.
  10. "I'd Rather Shoot than Fence," Environmental Wall Sculpture, 1975-2009. Mixed media: discarded found objects, feathers, barbwire, wine bottle corks. From the same series as mentioned above in #9.
  11. "Between Movements," Environmental Sculpture, 1981-1998. Mixed media: found branches, raffia, stone, pigments, feathers, glass.
  12. "Between Movements," another view
  13. "Evolution of Emerging Souls," Environmental Installation, 1981-2000. 20' x 5' x 5'. Installed at several art centers: Byrdcliffe Art Center, Woodstock, N.Y., Imperial Gallery, Soho, Kleinart Gallery, Woodstock, N.Y., Craftsmen Ass, New York. Mixed media: wood, bronze, raffia, stones, natural discards such as tree branches and pine needles ... The Balance of Humans and Nature.
  14. "Moving Along," Environmental Installation Sculpture. Mixed media: natural (nature's) discards, river tree branches, silk, feathers, raffia, wool, natural wax and pigments. Varies in size depending on exhibition space ... approximately, four feet high by three feet wide, and 10 to 12 feet long. As Nature cleans itself through wind, rain, snow and all the elements, it washes and feeds itself in a never ending symphony. Living in the wilderness for many years and having observed its beauty first hand, I have recorded and documented the wonder, and created ephemeral art as I have cocreated with Her ... The Extended Universe.
  15. "Moving Along," another view.
  16. "The Sun Bathers," Environmental Installation, 1977-2006. 42' x 1.5' x 16", Mixed media: concrete, discarded found objects, steel, stones, pigments.
  17. "The Sun Bathers," close up view.
  18. "The Sun Bathers," reverse view.

Proposal to Gallery/Performance Spaces

The performance/installation (P/I) works, with which I am currently involved, generally require a minimum floor space of 15' x 15', or 20' x 10, with no height requirement.

Each piece is constructed/performed and bonded to a particular site and adapted specifically to that location. Some changes in the presentation enactment at a whitewalled gallery, in the open air, or a more industrial type complex, will happen....yet the basic script and idea remain the same.

A motor vehicle is part of the performance: therefore access to at least one entrance, preferable on groundfloor level, with a relatively short walking distance to the street would be necessary.

Each work (P/I) varies in length (time), from 45 minutes to no more than 75 minutes, as I try to maintain a pace that keeps the viewers involved with the process.

Calculated timing is important in each sequence, and I like very much to begin on schedule.

I am open to verbal exchange before or after each performance, and generally like to begin between 11 a.m. and before 9 p.m.

The possibility of up to 6 other performers could figure in several of the pieces (and audience involvement in others), though at the moment it is me and at times one or two others...

Costumes/makeup/music (recorded and live), and a dialogue will accompany many of the performance/installations.

All props/sculptures and mechanical devices are selfcontained, and require no extra facilities outside of what each space already has.

I am open to shortnotice performance installations works on a onetime, onepiece basis with no more than two works presented on a single day, and a 30 minute interval between, if two works are to be done concurrently.

For a more permanent exhibit (1 to 5 weeks), and to further enhance the gallery or performing space, I can make available up to 30 large installations (approx. ranging in size 4' x 4' x 5' to 18' x 20' x 10'). These are transitional works from 1978 through January, 1980.

In addition, I have about 40 other sculptures, in mixed media, which were created prior to the creation of my environmental and conceptual installations. These I am also prepared to share, space provided, for a more comprehensive study of my work....

Thank you for your consideration on my behalf....



  1. Performance/Installation: "Tribute to Lex Baum" 1949-1980, From the "Landscape" Series, multi-media, 3p.m, 11th of February, 1980 in San Anselmo, CA, (Full review included on a separate sheet).
  2. Installation: From the "Landscape" series, 1978 through Feb. 5th 1980, mixed media, cement, stone, plaster, iron, steel, oil, earth pigments, oak wood branches. Approx., 15' x 6' x 4.5,' Healdsburg, CA. This work is also part of my program of P/I work and is available to be presented.
  3. Installation/Ritual: "The Search," January 1980. Steel lava stone, straw, western pine needles and earth approx. 30' x 15' x 1.' This was a one time performance/ Installation ritual and was used primarily in bonding myself to the new work at hand and the transformation of object orientated sculptures to that of large scale environment.
  4. Performance/Installation: "Earth Poem," 1979. First P/I, 6 p.m. September 21st through 8 p.m., 23rd of September 1979, Mill Valley, CA. Given a specific location and allotted space of 10' x 10.' This work reflected my feelings and wishes to create a piece that would inherit two locations, my studio and the installation site, reflecting Sonoma and Marin counties (California) and bridging the two, mixed media, plywood, steel, cement, straw and oil pigments were used besides the help of Potter Bill Ellis and friend. Overall 10' x 10' x 8.'
  5. Performance/Installation: "Country Highways," Spring 1979. Bonded to the asphalt (ground) at the Sausalito Art Festival 1st, 2nd, 3rd of September 1979. Pastels/chalk. During the Festival I documented the progress of the sun as creator and its involvement in changing the sculpture with new additions of color on the surface below and surrounding it ... the marking of time, the ephemeral quality of the piece, besides the interaction with the public who also become a part of the overall performance. Mixed media 12' x 6' x 4.'
  6. Performance/Installation: "1954," 1st, 2nd, 3rd of September 1979. This P/I was also part of six Performance Installations completed over the three day Festival using chalks and pastels. I proceed to bond the pieces to the location on the Festival grounds (City Hall play ground). Co-creating with the sun and the shadows cast off my sculptures. I periodically colored the shadows, tracing the movement during the three days. Random selection of colors, thickness of line and selection of certain shadows were considered in each segment. Mixed media, 8' x 7' x 4.'
  7. Construction in Progress of a "Tribute to the Landscape and Andrew Wyeth," Spring, 1978, Healdsburg, CA. The transformation of bone and steel into a final resting place. The work completed (not shown) used concrete in which the bones are encased in cement and the center rod transformed to a twisted road marker lying horizontal to the piece/earth. Mixed media, 7' x 3' x 1.5."