Kenneth worked his magic on the canvas, he did not paint what was in front of him, but what he wanted to see. I travelled to London with copies of his Thames nocturne paintings and realized that I could not identify the place he had painted them from. Finding the sketches of the nocturne was the breakthrough, there on the tall building, was written OXO. I now knew what I was looking at. But the whole of the river had changed. Kenneth had raised the bridges, given them style and flow. He brought the bridges closer and created a bank which was interesting. The tall OXO building was taken up and nearly out of the picture. The river had barges tied up in the centre of the flow. He looked at London and created a work of art. He took what he saw and made it better, more balanced and beautiful.
There is no doubt that Kenneth had an eye for beauty, he saw it in many things. There are many levels of art, there are those people who struggle to create an object that actually looks like the object, and there are other painters who defuse an object and distort it so that it no longer has any relationship to the original object. Then there are painters who just daub a canvas with colour without any form of thought and still call it art. But Kenneth had both skill and an eye for a picture and a feeling for beauty, for light and colour, for picture space and for a dramatic effect. He was born with an innate talent which he spent his life developing.
For him Sark presented him with some of his most moving and technically excellent paintings in watercolours and oil and a raft of drawings. He loved Sark. He found in Sark a measure of the sublime.