After thirty years of marriage to Bob Moomaw, Sherron Moomaw said his ideas still surprised her, and she presented his sculpture as a reflection of his life and of the freedom he believed hippies brought to society. Built of iron rods, junk parts, and crafted metal and mounted atop a wall, it traced the first twenty-six years of his life through the Depression, World War II, the Red scare, and the hypocrisies of the 1950s, which he likened to living in a coal mine with a three-foot ceiling that forced people to stoop. Rising to six feet, it represented the 1960s through the 1980s, when he believed the hippies raised the ceiling off everything and people stood up against oppression and repression, breaking free from small-town morality during Kennedy Camelot and the Hippie Movement. Its brightly colored metal forms showed love, peace, and individuality, while its crossbars symbolized the webs of his life, with other people's junk sticking to him over time and making him what he was, a product of leftovers from a previous existence. He said he had never gotten to determine a thing in life because it was determined for him, and he left the pieces raw so they would rust, because life was like junk collecting rust. Sherron Moomaw said Bob Moomaw was not a hippie, though he had a beard and ponytail while attending the university and was present in the same time and place, and that while he was raising his children to use the freedom of their minds to search for knowledge in education, he believed hippies gave people room to breathe and that this was the aspect of their existence he honored.