At the centre of Kennedy’s practice is an expanded notion of drawing, through which he makes paintings on panels, drawings on paper, wall drawings and sculptural installations. His work moves across a diverse range of motifs and visual elements, driven by an insatiable desire to uncover something unexpected or surprising.

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Works often begin with found or ‘readymade’ elements, from typographic glyphs to sampled architectural details or simple repurposed machines such as clock mechanisms. Each becomes integral to how he constructs and shapes the work. Whatever the medium he is working in, Kennedy approaches drawing as a framework for testing ideas, exploring how materials are transformed through simple actions, systems and gestures.

At times this involves precise digital tools and software. At others, it is physical, analogue and immediate. In recent paintings, he has drawn on canonical artists and art historical influences, recontextualising existing motifs and ideas within his own visual language. Graphite remains a constant material presence. Familiar as a drawing medium, in Kennedy’s hands it takes on multiple states. In painting it is dense, reflective and slow. In his drawing it is fragile, provisional and immediate.

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His work often deliberately parodies scientific process to examine the relationship between intuition and logic, revealing a fascination with the hidden behaviour of time, systems and materials. The work reflects on the systems we use to organise and understand the world, how we measure, categorise and attempt to fix meaning. He seeks order in a chaotic world, recasting chance and unpredictability as active tools within that process.