Artist Statement

When looking at my work the viewer should consider them as configurations of spiritual geography. In this manner I refer them as "Interior/Exterior Landscapes". The primary blue shape will refer to geological forms found in geographical landscape. As such they mark unspoken borders much like a rock cairn would. This marking indicates a place of spiritual solace and point of reflection. My intention is to explore the subconscious symbols of an 'interior' spiritual reality when consecrated by the borders of 'external' physical reality.

Artist Exhibitions

2009 - F.U.E.L Collection, Philadelphia, PA
2006 - Philadelphia Art Alliance, Philadelphia, PA
2005 - ROYGBIV Gallery, Columbus, OH
2003 - Pittsburgh Center for the Arts, Pittsburgh, PA
(Curated by Katherine Talcott; Curator, Three Rivers Arts Festival, Pittsburgh, PA.)
1982 - Bard Hall, San Diego, California
1981 - The Athenaeum, La Jolla, California
1976 - Vehicule Galerie, Montreal, Quebec, Canada
1975 - Mount St. Vincent University, Halifax, Nova Scotia, Canada
1974 - Pier 1 Theatre, Halifax, Nova Scotia, Canada
1971 - CBC National Television (Photographs), Canada

2009 - Seoul Center for The Arts, Seoul, Korea
2008 - Arte de Bogota 08, Bogota, Columbia
2007 - F.U.E.L Collection, Philadelphia, PA
2007 - Forte de S. Joao, Porto, Portugal
2007 - Linedarte, Naples, Italy
2007 - ArtProcess, Mercato del Pesce, Trapani, Italy
2006 - The Butler Institute of American Art, Youngstown, OH.(The BIAA 70th Annual Summer Exhibit was curated by Peter Plagens, noted American painter and art critic
for NEWSWEEK Magazine. Kinsey’s “Interval Series, exodus” received an Honorable Mention award.)
2005 - Gallery Ginza Himawari, Tokyo, Japan
(A contrast between traditional Zen calligraphers and Western abstract artists addressing spiritual points of view.)
2005 - Marziart Internationale, Hamburg, Germany
2004 - The Westmoreland Museum of American Art Biennial, Greensburg, PA. (Curated by Ingrid Schaffner, Senior Curator, The Institute of Contemporary Art, University of Pennsylvania,Philadelphia, PA. Ms. Schaffner’s reviews have been published in Artforum and Art in America magazines. She also writes museum catalogues for such institutions as The Whitney Museum of American Art, NYC.)
2004 - The Regina Gouger Miller Gallery, Carnegie Mellon University, Pittsburgh, PA. (Curated by artist/lecturer Renee Stout.)
2004 - The State Museum of Pennsylvania, Harrisburg, PA
2004 - The Three River Arts Festival, Liberty Avenue Gallery, Pittsburgh, PA.(Curated by Katherine Talcott and Alex Smith.)
2004 - The University Gallery, The University of Pittsburgh, Pittsburgh, PA.
2004 - The Andy Warhol Museum of Art, Pittsburgh, PA.(Curated by The Warhol Museum staff.)
2003 - Roy G. Biv Gallery, Columbus, OH.
2003 - The State Museum of Pennsylvania, Harrisburg, PA.
2003 - The Hoyt Institute of Fine Arts, New Castle, PA. (Curated by Thomas Sokolowski, Director of The Andy Warhol Museum. Received Best in Show award.)
2003 - The Three Rivers Arts Festival, Pittsburgh, PA. (Curated by New York artist Mark Sheinkman).
2002 - The Art Institute of Pittsburgh, Pittsburgh, PA.
2002 - Pittsburgh Center for the Arts, Pittsburgh, PA.
2001 - Carnegie Museum of Art, 91st Annual Associated Artists Exhibit, Pittsburgh, PA.(Juried by David Carrier, art critic for Artforum, Art in America magazines.)
2000 - Pittsburgh Center for the Arts, Pittsburgh, PA.
2000 - Third St Gallery, Carnegie, PA.
1988 - Walt Disney Imagineering, Glendale, California
1986 - Brand Library Exhibition Space, Glendale, California
(Curated by Los Angeles gallery owner Ruth Bachofner)
1985 - Onyx, Los Angeles, California
1985 - The Art Store, Los Angeles, California.(Curated by noted late Abstract Expressionist Emerson Woelffer.)
1979 - Riggs Gallery, San Diego, California
1975 - Dalhousie University, Halifax, Nova Scotia, Canada

Kinsey’s work is represented in collections throughout the United States, Canada, Mexico, The United Kingdom, and The Netherlands, including the private collection of the former Deputy Finance Minister of Mexico and the Bank of America Corporate Collection (Los Angeles, CA).
His work has been reviewed on CBC television, Canada, in the Chronicle Herald, Halifax, Nova Scotia, Canada and the Montreal Star, Montreal, Quebec, Canada; his work was also reviewed in The Evening Outlook, Santa Monica, CA, In Pittsburgh, PULP, The Pittsburgh Post-Gazette and The Tribune Review, Pittsburgh, PA.


Artist Publications

The Westmoreland Museum of American Art Biennial /2004
Greensburg, PA, USA
Juror's Statement:
As a curator of contemporary art, I am frequently invited to act as juror for open-call exhibitions, such as this one. The drill is pretty much familiar. From a more or less overwhelming number of slides- in this case there were 5 carousels full- I select a group of works to meet three general criteria. These are to represent contemporary issues and imagery, to celebrate regional characteristics, and to indulge some of my own predilections. Of course the first criteria is my professional priority, although in the case of this biennial, it was not the most attainable.
Visit, for example, The Whitney Museum of American Art's Biennial, which is now on in New York, to see the current interest in adolesent pop culture, trippy states of mind, and historic modes of minimalism. I saw little interest in these themes from the work submitted. Rather, what struck me was a powerful sense of regionalism based on landscape. I'm not talking about landscape in the traditional pastoral sense- though the majority of art was representative, as opposed to abstract or conceptual- but about Pittsburgh and its environs. The impression is one of industry being encroached upon by everyday life, by cars, seasons, roads, houses, even the obsolescence of industry itself. Coincidently, this landscape lets me indulge one of my own interests. As a native of Pittsburgh (I was born at the Magee Hospital in Oakland), the sense of place I encountered was familiar and charged. Again, it's not so much about particular locations (I left at age 10), but identification with a place where people work hard and well, and where a little humor and grit go along way.
Ingrid Schaffner, Senior Curator
Institute of Contemporary Art
University of Pennsylvania
Philadelphia, PA, USA

The following review is an excerpt from art critic Leslie Hoffman's article in PULP (Pittsburgh, PA, USA, January 18-23, 2003) entitled: "Photographs, Landscapes and Sculptures-PCA presents three strong artists and a mixed juried show".
"Painter Kinsey's 'Interior/Exterior Landscapes' is similar to Brodsky's two collections, in that all his work is so incredibly similar that it seems he's working with an installation too. In this exhibit, Kinsey has worked with canvases that are at least five feet tall and command their own walls. Covering the canvases with curves of icy yellow and midnight blue, Kinsey has created an atmosphere that is foreign yet strangely familiar. It's like looking at a satellite photograph of Antarctica's coastline. Caverns of deep, heavy blue abut cold expanses of pale yellow".

The following is an excerpt from art critic Kurt Shaw's review from The Tribune-Review (Pittsburgh,PA,USA. February 21, 2003) entitled: "Latest exhibitions winding down at Pittsburgh Center for the Arts".
"Interior/Exterior Landscapes can be found in two back galleries where painter Doug Kinsey has arranged 10 of his massive blue-and-white abstract paintings, each to it's own wall, in an installation-like format similar to Rothko's Chapel in Houston.
Invoking the work of painter Mark Rothko (1903-70) as well are Kinsey's paintings, which feature a colorfield painter's approach to abstraction.
In the works, thick layers of paint-cooked up by the artist with wax and linseed oil- have been vigorously brushed in multitudinous layers onto each canvas. In this way, Kinsey suspends ambiguous blue shapes into ethereal fields of white color. Part sky, part sinkhole, the blue shapes seem to dive into the picture plane just as quickly as they present themselves on the surface.
In some paintings, the shapes are more defined, bringing one to realize that Kinsey is exploring more than just just one way of working within this vernacular. Thusly, he has conveniently assigned each to a series 'Interval Series', 'Basalt Series' and 'Float-Hole Series'.
Although the 'Basalt' and 'Interval' series of paintings offer more solidly resolved manifestations of Kinsey's visual language, of the three, it is the 'Float-Hole' series that remains the most interesting.
Never have shapes been so ghostly"....

Artist Collections

Kinsey's work is represented in collections throughout the United States, Canada, Mexico, The United Kingdom, The Netherlands, Singapore including the Bank of America Corporate Collection in Los Angeles....

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