Shot from the roof of the building known as “the pagoda” during the active restoration of the Pasaquan complex, this panoramic image shows the yellow main house at center, the extensive additions behind the original building, the outdoor dance circle to the right, and the painted concrete relief-murals that define outdoor regions throughout the site.
St. EOM’s circular motifs dominate much of Pasaquan in round medallions of concrete, etched and painted with suns, stars, yin-yang symbols, obscure icons from otherworldly cultures, and disc-shaped configurations of his own invention.
One of several undulating snake-topped fences that run through the seven-acre site. Individual disc-shaped concrete medallions were designed and prepared by St. EOM and set into cupped openings in the fence, then capped with a sculptural serpent that was subsequently painted. The restoration work required that each component be fully repainted to match the original design and color scheme as accurately as possible, with special consideration for permanence and the ease of future maintenance.
Left*: St. EOM with a concrete medallion before he painted it for the first time (1970s–80s).
Center*: The same medallion after his death (1990s) — note the completion of the snake at top.
Right: The same medallion in the midst of active restoration, after the concrete has been cleaned and restored and new paint partially applied (August 2015).