"In Tim Kennedy’s paintings, we’re invited to witness the passing pleasures of life: friends stop by for a visit; a vase of flowers sits prettily on a tabletop; a wife or girlfriend steps into the shower; the sun, raking a living room, bounces light from wooden floors and soft cushions. The color is attractive and slightly more vibrant than strict realism would allow, conferring warmth and harmonic unity. Fine drawing is much in evidence, with forms carefully delineated in a way that betrays some effort at simplification. The paint, layered in an opaque manner, tends to sit in flat areas with only the occasional blended transition. The effect is to suggest 3-dimensional form without going through the long business of rendering every last turn and twist. Leaving much of the color in fairly flat areas enables the artist to organize his compositions as a set of clear shapes locked together in almost classical formations. These are paintings that promise quiet enjoyment and pleasurable reflections, something that Tim Kennedy is well aware of. “There’s a famous statement by Matisse that compares a modernist painting to a comfortable armchair,” says Kennedy. “The idea is that when a person comes home from work...." http://www.artistsnetwork.com/articles/artist-interviews-profiles/tim-kennedy-oil-portraits-and-figures Of his own practice Kennedy notes: "the information that you get from the world is through what you can glean from its surface, and you have to infer a lot of things. It’s a bit of a detective story in a weird way, just even interpreting what you’re seeing light wise. Which is interesting. Essentially, you’re watching how light falls on things. And sometimes it takes a long period of time to see what actually is happening, whatever it is that you’re looking at. You define the subject by being out there for hours at a time. And you learn something about it. It’s intriguing." (http://painters-table.com/link/painting-perceptions/tim-kennedy-interview) undefined

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