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Pretty Flamingo Print

Francis Kenney

United Kingdom

Open Edition Prints Available:
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10 x 10 in ($40)

10 x 10 in ($40)

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
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This work is acrylic painted on canvas. It's part of an ongoing series of paintings of inflatables. I'm interested in how rubber inflatables represent an ephemeral frivolity and the joyous moments of life while they are briefly inflated with breath.

Year Created:

2025

Subject:
Medium:

Print, Giclee on Fine Art Paper

Rarity:

Open Edition

Size:

10 W x 10 H x 0.1 D in

Ready to Hang:

No

Frame:

Not Framed

Packaging:

Ships Rolled in a Tube

Delivery Cost:

Calculated at checkout.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

All Open Edition prints are final sale items and ineligible for returns. Visit our help section for more information.

Handling:

Ships rolled in a tube. Art prints are packaged and shipped by our printing partner.

Ships From:

Printing facility in California.

Need more information?

Need more information?

Francis Kenney (b. 1976) is a British fine artist and graphic designer. Based in London, Francis has worked for over twenty years as an award-winning communication designer, type designer, and art director. He studied Graphic fine art in the 1990s at the University for the Creative Arts in Canterbury (formerly K.I.A.D), the University of Alberta in Edmonton, Canada, and Central Saint Martins in London. His work is held in the permanent collections of the Victoria and Albert Museum (V&A) in London and Tallinn University in Estonia, and he has exhibited internationally. Love, Art, Life and Death: Francis riffs on the everyday. His work explores the meaning and interpretation of images, symbols, and language. Through objects and scenes, he constructs narratives that invite the viewer to reframe the ordinary as extraordinary, using humour and gentle aphorism to question how we each relate to the world around us. Working across printmaking, painting, sculpture, and digital media, he creates art that speaks to human connection and the shared experience. By finding joy in the mundane, his work reminds us that— to misquote Jim Reeves—“now is all the time there may be.” His recent works reinterpret symbolic vanitas and memento mori imagery, genres that gained popularity in the 17th century to remind viewers of their mortality in a deeply religious era. With a bright, often playful colour palette, these modern takes explore questions of existence and meaning at a time when we risk being overwhelmed by the trivial.

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