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It was where I thought I would ride out the nuclear holocaust. I’d take food with me into the hole, and stacks of magazines, like National Geographic, and art books, anything with pictures. With a flashlight I discovered the world,” he recalled. “The Venus of Willendorf was the first image I remember seeing every time I opened one of my books. She was God.”
But Hoyer found the mandalas “just too pretty” in the natural, muted shades of turquoise, jasper, agate, slate, and obsidian. And as he set about reinterpreting the mandalas by painting the black-and-white photographs he’d taken of them, he found himself referring too often to the originals. “I had to either get rid of them or cover them up.”
So he masked them with paint, half of the pieces with black and half in white. The result is a stark contrast of opposites, reflective of the two sides - the light and the dark - of human nature.
This treatment also brings into sharp focus the remarkable texture of Moyer’s mosaic pieces and the shape of the flowing designs. And again, as with his ritual baskets and
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