Wes Bay began his training as an artist in the summer of 1969 in New York working with pop artists Stanley Warhol and Stig Attwood. The trio created the installation "Urine On The Sidewalk" for the Googenburg Museum.
Following the lawsuit and subsequent trial, Wes left New York for the sunnier climate and people of San Francisco.
It was there in the West that Wes discovered his second love - music. In 1972 he was asked to join a new band being formed by fellow artists Nell Yunge and Stephenie Sills. That group "Velvet Elvis" was very influential on the not-yet-formed punk movement later that decade. The band broke up in an explosion of lawsuits and harassment charges in the spring of 1975.
Wes, tired of the music scene, went back to making films. "Vaginas In the Mist", a film about early female aviation pioneers, won him the first in a series of "Gold Sprocket" prizes at the 1976 Whole World Film Awards.
Wes next went on a money-raising expedition to fund his next project, the far-seeing "Silicon Spider", a feature movie about computers that talk to each other, with his friend "S.K.", who was assumed at the time to be Stanley Kubrick. After raising an unknown—but reportedly large—sum of money, Wes fled for Argentina. No charges were laid. Kubrick, who has since died, neither confirmed nor denied the rumors of his involvement.
The next 20 years saw only one Wes Bay project: the infamous 1984 "Strudel Festival". Wes hired 80 of the world's best classical string players for a "special performance" of his piece entitled "The Mind of a String Player". In a bizarre letter, they were instructed to leave their instruments behind. Wes claimed he had invented the perfect instrument to reflect the players' personalities and temperaments. He would not allow a single rehearsal, or anyone to see the score beforehand.
The night of the show, many players refused to participate when Wes handed out the score: a single napkin with the words "Go nuts" written in crayon. Trouble escalated as he handed out "instruments"—foot-long pieces of apple strudel—to be used for improvisation. After the ensuing brawl, Wes again fled, this time to Canada.
Wes reappeared in 1996 when Pilot Records, a Vancouver-based record company, hired him as a producer. He had minor triumphs with bands such as Dic Scene, Sonique, The Skunk Brothers, and the Flesh Ripping Weasels.
In 2000, Wes returned to film with the release of his catalog of over 200 films. He currently (2025) is just sort of fucking around.