Toby Hinks’ practice stands at the intersection of sound, architecture, sculpture, installation, and perceptual art, dealing with the manipulation of the sense of space through sound and structure.
Hinks’ work questions participants perception of reality around them and explores what the imagination invents to rationalise these new spaces. Conceptually, he is interested in the ability of sound to attain social powers, to isolate or unify through experience within spatial contexts. Much of his academic research centres on the manipulation built structures impress upon sound and how the resultant sonic effects gain social associations of their own, dictating behaviour within, and social functions of those spaces. Working with existing spaces, and their predetermined social functions, or constructing structures that allow for abstraction of these situations, a perceptual minimalism is at the heart of these experiences, focusing the viewer on the perception of their surroundings through a sonic medium.
– Foci –
Altering the perception of space through two minimal sculptural forms interacting sonically.
Foci is a combination of a kinetic sound sculpture and domed structure above it that amplifies and reflects the resulting sound. The resonant tone of a metal bowl is activated by the circling movement of large steel ball bearings, put in motion by the user. Contact mics and a surface speaker transfer vibration from the bottom dish to the top, projecting this sound in an isolated area, creating the sense of tangible architectural space around the user.
The installation seeks to exploit a disconnect between visual and aural perception of space in the creation of structural form. The piece utilises the reflective nature and sonic qualities of material, to conjure a cohesive impression of architectural space. Also, through user participation, the role of our own agency in sonically defining architectural space is highlighted, creating personal sonic spatial experience through physical interaction.