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ploration of “infinite possibilities.”
“I want to continue my creation to see how many transitions the objects can go through, either in reinterpretation by myself or by other artists,” Hoyer explained. And this rebirth isn’t restricted to a like medium. With “First Fruits,” the reinterpretation went from fine art to dance to fine art to dance. Another of the baskets made for “First Fruits” made the transformation to music. A composer friend of Hoyer’s uses a Kurzweil, a keyboard sound sampler similar to a synthesizer but with recordings of the actual notes made by actual instruments or sung by real voices. “So he has an orchestra at his fingertips when he composes,” the artist explained. The friend took one of the sound baskets used in last year’s performance, and shaking it, recorded the sound for his Kurzweil sampler. Now that musical reinterpretation of Hoyer’s woven basketry art can be woven with violins and cellos into yet another composition.
This process goes on . . . and on. The colored prints are not yet the final version of the mandalas. “A friend wants to take close-up shots
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