From this, the artist discovered a new lens through which to see people. He soon came to realise that it is the unique way in which these modular traits are organised that constitutes our individual natures. In this sense, Kinsella’s artworks liberate viewers to form their own varied and personal conclusions.įrom a young age, Kinsella became fascinated by our individual psychological makeup, developing a keen interest in the Myers-Briggs personality test that is designed to break down our characters to specific sets of traits. However, where the singular purpose of the creative energy in advertising is to lead people to the same conclusion, Kinsella’s artistic work strives towards the opposite goal, encouraging and stimulating subjectivity. In this way, Kinsella’s experience in advertising has fed his current artistic practice, leading him to develop his theory of psychological portraiture. As such, Kinsella is perhaps uniquely positioned to visualise the intricacies of our individual psychological components. For the artist, the realms of advertising and psychology converge, with psychology exploring human nature and advertising leveraging psychology to understand human behaviour. Kinsella transitioned to a career in painting after a diverse and lengthy experience in the creative industry, working in the art world and in advertising. By juxtaposing fragments of images or creating theatrical spaces that allude to myths of self, journey or transformation, I invite the viewer to consider dream states at multiple levels – the personal or collective.The idea of psychological portraiture is central to Jason Boyd Kinsella’s artistic practice and lies at the very heart of Fragments, the artist’s first solo exhibition in London.
#Psychological portraiture series#
Original sound tracks, incidental performance, and extended photographic series further enrich the multi-layered, temporal quality of my installations.
My exhibition concepts involve installation of layered self-portraiture (diptych or triptych) exploring memory and place in terms of human interaction, apparent time displacement, the fundamental aspects of sound, and the symbolic function of spaces. This protracted resolution requires ‘witness-consciousness' and a non-judgmental attitude ideas will eventually ‘resolve’ and lead to greater emotional and conceptual meaning. A completed series takes time to develop as the decisive quality and multi-layered depth of each image is uncovered.
#Psychological portraiture archive#
Utilizing an archive of raw video, varied fabrics, and rudimentary architectural structures, my artistic practice evolves through a continual progression of creating, viewing, recalling, reading, interviewing, researching theory, and expanding iterations. Gauze and fabric create liminal thresholds - transitional spaces from which to examine inner struggles and stages of life. In performance, I turn to my ‘self’ as subject – simultaneously becoming both performer and stage manager in preparation of materials. Inspiration and symbolic content develop best during ‘active imagination’ exercises which include movement and playful experimentation. By blurring the indexical quality of representational portraiture, larger psychological or metaphysical themes emerge.Įmbodiment and improvisation are central to my working process.
Creating texture and form in the folds, fabric suggests another entity or archetypal figure. In numerous works, printing digital images on silk banners further animates the body form as the cloth moves and breathes in the air. Fabric enhances the hypnagogic quality of the 'body forms' in my images: isolating, concealing, restricting, or defining movements and tensions within the human figure. With photography, video and performance, I examine personal 'myths of transformation' through encounters with fabric at chosen liminal sites.
Motivated by mythmaking, poetics and Jungian psychology, my work in interdisciplinary lens-based media and collaboration investigates experimental approaches to portraiture.
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