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votive implements - horsetail wisks, dance sticks, and clubs - there is an impression of antiquity. These mandates look as if they could have been fashioned for ancient African fertility rites rather than by an artist working in 1988 at his Blue Ridge Mountain studio near Linden.
And with the shells and stones in a hiding place under the masking paint, the smaller, transformed images became reinterpretations - not reproductions - as Hoyer’s memory sharpened and shifted the colors.
Through the reinterpretive process, what first was very African and primitive now looks Moorish and more sophisticated, the trip from memory to painted print changing Hoyer’s creations in much the same way as the immigration to Spain subtly influenced the art of the peoples of northwestern Africa.
The dual exhibit of mandalas and mandala-descendent8 is Hoyer’s ex
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