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fluenced the movements of the dancers.
“She had already takers my work and interpreted it through dance,” he noted. And Hoyer has scores of black-and-white photographs of that performance. He had been thinking ' “about doing something with them, putting the art created in that collaboration through yet another metamorphosis. “1 started playing Tuth them, the still images of the dance.” He blew them up, painted backgrounds, painted the baskets in jthe foreground, textured the paint W that portions of the image stood out three dimensionally. “I was bringing it all back, reinterpreting those movements. I was so excited by the results that I threw out everything else I was working on for this show, except the baskets, and I concentrated on reinterpretations. So basically, everything here comes after Aug. 1.”
What is being reinterpreted in “From a Hiding Place” is Hoyer’s personalized version of the mandala, symbols used for meditation by fol■ lowers of Eastern religions and phi. losophies. His are of stone and , 'Sbashells arranged on papermache in intricate variations of wheels, circles, and triangles, the traditional patterns for meditation. The big mo. saics, constructed in three foot squares, are decorated with fertility symbols inspired by a 2,500 year old goddess figure, the Venus of Willendorf.
i As a child, Hoyer had a private cubby-hole. "It was just a crawl space through the closet wall of my bedroom, very small and very dark.
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