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himself a wide, thin-lipped mouth surrounded by bristly monkey fur. The eyes are about to smile.
Perhaps Kenny wants to be our bridge to nature. He calls this exhibition “Arcadia No. 32”. Given the subjects of his painting, he accepts the Vergilian concept of Arcadia as the home of pastoral simplicity and happiness.
An image of a satyr with antlers tied to his head speaks to us of Arcadia. The picture frame is decorated with bark. Other frames in the show are equally carefully and beautifully carried out to enhance the images they enclose.
The satyr is seated in a watery grotto where flowers are growing. His bushy beard and head of hair contrast with his donkey legs and hooves. The creature makes a strong, if not attractive, impression in spite of the idyllic setting.
By contrast, Flora, also harking back to mythology, is appealing, an enigmatic, brown-eyed bust of a woman clothed with green moss, out of which a large beetle is moving toward her throat. She emerges from a blue sea at a rocky shore.
At the horizon, the sky looks like sunrise or sunset, deepening at the zenith into a midnight blue studded with stars. Nine tulips and other botanicals grow from the woman’s head; a white hibiscus is fastened to her forehead.
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