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"These abstract works, created alongside my representational paintings, are a place of exploration. Bright color fights to break through deep black, and in that struggle I express something felt rather than explained. Each piece is a fragment of how I perceive the world around me. The unrest and uncertainty I can't ignore becomes an anxiety that is baked into the visceral energy of the painting's surface" 
– KINSEY

Q: For the past two decades your work has relied more on the use of representational elements to drive the narrative. However, I do see within your work from 2007-2012 a similar approach within the backgrounds of your pieces that you then imbed more pictorial elements on top of. How do you see this departure to pure abstraction—the non-objective use of imagery, like color and gesture to portray a mood—relating to that work in particular. Also, how do you use this new way of looking at your work to explore similar issues, like social or political chaos, environmental breakdown, overpopulation, etc. Is there a connection you see between what you did before and where you’re at now?
A: In many ways, I see this new body of abstract works as a continuation rather than a departure. Even when my paintings relied on representational imagery, I was always drawn to the underlying tension between order and disorder—that push and pull between opposing forces that exist within human nature and in the natural world. In the earlier works, that dialogue was often carried by recognizable forms—figures, objects, or landscapes that anchored the narrative.

In these new works, that same tension surfaces through the way the piece is construed. The imagery is distilled; it’s less about depicting a scene and more about conveying an atmosphere or psychological state that mirrors the broader social and environmental turbulence we live within. 
I see abstraction as a more direct language for expressing instability and flux. The dissolution of form parallels the dissolution of boundaries we’re witnessing—ecological, political, and social. Through this shift, I’m not abandoning narrative but allowing it to emerge more speculatively and void of pictorial depiction. In that sense, these works feel like a return to the foundations of my practice—those early, spontaneous backgrounds from 2007–2012—now brought forward and given full autonomy