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Kenny’s smaller works have an attention to minutiae, such as carefully softened edges which avoid the cookie-cutter aspect of much figurative art.
His portrait of Donna, which is lovingly painted, captures the poised, grounded and balanced Donna backed by of the woods near their home, with Old Rag Mountain in the distance. The pyramidal stack of subject matter is balanced by the massed cloud bank in front of Old Rag and the object-like outline of treetops against the clouds. This painting typifies very well the focus of Kenny’s paintings on a figure of figures, with elaborations indicating the persona of the sitter or enhancing a theme.
Kenny’s prolific output is partially explained by his having perfected his means, reaching a point of comfort with his technical abilities that enables him to get on with the presentation of images. A case in point is the miniaturization of the landscape in “Salvador Dali,” where the application of paint recalls the skill of Dali’s own work. I hope 1 say this with some objectivity, having lived in St. Petersburg, and having frequented the Dali museum there. This painting, incidentally, avoids all of the stigma of a derivative piece through sheer fun.
Kenny’s illusions are remarkable but not so seductive as to overpower content or ideas. The caterpillars in “Mary with Moths and Butterflies," for example,
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