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why I wanted to do baskets,” said Hoyer, who was a painter before he was a basket weaver.
But painting had been an avocation, not a vocation. His real work was in the art-related fields of restoration, gilding and fine frame making. Painting was relegated to long vacations from his Washington, D.C., jobs. “There just wasn’t enough time,” said Hoyer, looking back on his decigion, ^abandon the lucrative restoration work. “And it sapped my energy for real art, doing this art-related 'stuff.' After"‘restoring all day and all week, I didn’t feel like painting when I did have free time.”
The turning point came when he was restoring kotas, the brass or copper reliques that adorn the African baskets which traditionally held the bones of revered ancestors. “I was intrigued by what they would look like back in the baskets,” Hoyer recalled. The fascination became even stronger as he began actually making the baskets. “Basket-making has always been considered women’s art,” Hoyer said, groping for an explanation for the fierce attraction. “The bones were kept in
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