As an aside Jade Fenu mentions that the job of the artist is to paint, not to make paintings. It’s an interesting distinction that might not make sense for an artist focused on meticulously recreating a glimpsed scene or producing effective illusion, but Fenu is neither of those. His gestures and process lay front and center, varying from full motion abstractions to figurative narratives set in melting, swirling splattered landscapes. In some the normally all important features of identity such as faces and hands become obscured, consumed by incident of mood and color. In others plants become the powerhouse transmitters of vibrancy and quilts of hues that can barely stay attached to their respective leaf and stem. Underneath these surfaces there’s a tactile explosive jungle of ideas, conflicts and motions struggling to fend off opposing forces, survive and prosper. As Jade suggests the paint and subject seem caught in the act of expression, not yet complete and therefore capable of further mutation and interpretation, still alive becoming rather than dormant and captured, evocations of beginnings or middles with barely a hint of the end game. If you are looking for safe passage to comfort and foregone conclusions, this isn’t the place. If you can live with definitive moves and doubt basting in promise and ambiguity while questions and hints mix with one another side by side, Fenu’s searches on canvas might make an excellent launch pad for headlong dives into something recognizably visceral, open ended and deceptively disquieting.
(from- “Inkwelder Comments”)