Michael was a kind and open-minded tutor to me. The way that drawing informed both his sculpture and work on paper was very unusual. I admire the quiet reticence of his work. How he identifies the location of things: how bodies and objects might share a place, but never illustrating it or them. I like the way that he allows the means of sculpture: plumb bobs, plaster, rough-cut timber to be the subject and invites us to share their register of time.

Antony Gormley 2007

Michael was – and continues to be – one of the most gifted, distinguished and admired artists of his generation in Britain. Part of the creative burst of energy that came out of Liverpool in the early 60s, he completed his studies at the Slade in London where Reg Butler dubbed him the “Liverpool Italian” partly on account of his looks but perhaps also as a nod towards Kenny’s appreciation of Continental sculptors such as Medardo Rosso. Throughout his life, his work addressed the isolation implicit within the human condition, expressed often through the seated or reclining female figure, abstracted into lean economy, touching landscape and geometry, often incorporating devices such as the plumb-line, evoking a scientific search for truthful revelation.

His last great series of drawings, on the theme of The Stations of The Cross encapsulate the full range of his imagery and references and must surely rank as on the of the finest examples of genuinely religious art within the Christian tradition made since the Reformation. The work seen here, Kenny’s sculpture, his drawings, together with the example of his dedication to making art as a way of living will continue to offer insight and inspiration both to those who are familiar with his work and to those who meet it for the first time.

Prof. Brian Falconbridge PRBS 2007.