“Kinsella identifies the influence of Lawren S. Harris, a leader in the formation of the Group of Seven and one of its best known artists who created a distinctive visual language inspired by the Canadian landscape.
The influence of Harris’ stylized geometric approach to lakes, trees, skies and mountains, exploring the basic structures underlying the natural forms is truly evident in Kinsella’s artistic aesthetic, using colourful geometric forms to symbolize the archetypal elements of psychology and countenance.
Kinsella’s visual language quotes the past within a contemporary practice demonstrating a depth and understanding of what has come before in order to question the world we live in today. Another influence from his past is the largest public collection of Henry Moore works. Much of the fascination with Moore stems from his abstracted forms encouraging ambiguities, multiple meanings and interpretations.
We can’t help but see the impact of this immersion when looking at the organic, biomorphic forms found in Kinsella’s work. There is a similar ambiguity in the assemblages of forms in his portraits, allowing for interpretations that extend beyond the physical. An investigation of simplifying features into strange beautiful shapes, exploring the interiority and exteriority are absolutely present.”