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£>£ “From a Hiding Place,” Joel ^payer’s exhibit which opened last -^weekend at the Middle Street Gal-S%y, is affirmation of art’s infinite ^possibilities. *The show is part experiment in '.rPOcycled art, part last minute inspijSrjjtion, and all absorbing. Hoyer has jirieated two bodies of work that ap^tf>6ar to be distinctly separate: first, -'jt series of big, bold assemblies of -jhells, stones, and fertility figures '•arranged mosaic-like, then con”<f»led with either black or white 2-{»int; second, a collection of small ^paintings with brilliant hues and • .decorative borders. But the second v^t: actually the first. The paintings vale black-and-white photographs of 'we bigger pieces, reinterpreted by >Hoyer with colored pencils and oils.
“I want to see how many times a Cjjfeation can move, how many things Coin be done with one object,” Hoyer «Mfld, explaining the inspiration for Hfljjs solo show. £*> The seeds for “From a Hiding -Place” were planted last year in 0^rst Fruits: A Contemporary Ritan
innovative collaboration been
Hoyer and choreographer
y Nash. Hoyer wanted a ritual to i$eonsecrate” the baskets he weaves. 'She took the baskets, and holding <£fiem, found new ways for herself
flgd the dancers in her Last Minute • Wood Company to move.
-Hoyer watched the dance, and Nfent back to his Linden studio to fashion jewelery for the dancers to wear, fetishes for them to carry, and sectional screens of shell and stone mosaic as backdrops for the dance. Those objects, in turn, subtly in
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