Colour ripple 1969 wood, aluminium, electric motors, coloured light , tinted plastic, glass National Gallery of Australia
Frank Hinder (1906-1992)
Some years after his return from studying in Chicago and New York in 1934, a young Frank Hinder sat still minding the Grosvenor Gallery in Sydney. Spurred by the progressive ideas of Dynamic Symmetry that he encountered in the United States, Hinder found this static experience rather dull and unmoving. He cavilled this moment of stasis in his dairy titled My Daze in the Gallery, pointing to a slump in support for more progressive Sydney artists as if to stir up debate. Joining Grace Crowley, Rah Fizelle, Ralph Balson, and Eleonore Lange in the late 1930s, together they formed the Sydney modernist school. In sync with the vigorous thrusts of modernism, Hinder’s pre-war paintings show a strong Cubist influence infused with a Classical fascination with symmetry, geometric and architectural form. During the war years he spent some time in Canberra, developing camouflage designs to conceal military men and machinery, after which he went on to design commercial posters and made a significant contribution to Australian stage and costume design in the 1950s and 1960s. The kinetic sculptures of his later years expressed the energy of light in movement, momentarily capturing the dynamism of the modern world as it jetted toward a potential future. With no beginning or end to the present, “Space moves!” proclaimed the Futurists. Hinder sought to capture this living movement of bodies and their interconnectedness, making visible the constant flux of reality that exists in the compositions of the world. Through these morphing relationships and shifting elements, Hinder’s diverse practice evoked a living dynamism and synchronicity of space and time.