A theory of universal dynamism
As an adult artist Hinder developed an interest in the depiction of form, movement and speed. His work in this area followed the experiments of the cubists and futurists, whose work he first encountered while studying
in America in the 1920s and 30s. The futurists' use of aeroplanes, cars and trains as a motif to convey the physical experiences of modern life struck a particular chord with him. While in the US, Hinder embraced American artist Jay Hambidge’s theory of 'dynamic symmetry', in which he proposed a system of proportions underlying all living things. This had a profound effect on Hinder, who said 'if
you can link into the actual so-called life rhythm in your work then I think
you are getting a little bit closer to the universal, whatever-it-is, that
makes us tick'.