Kenny’s work investigates the patriarchal authority and marginalisation of women in a male-dominated, agricultural environment. Females have been reduced to a minor role by societal views of what is acceptable on family farms. She questions why tradition is more important than gender equality in rural families. Only 12 percent of farmers in Ireland are female. The role of the female on the family farm in Ireland is examined throughout the work. She is fascinated with the lack of recognition females receive in the agriculture sector. Her video work highlights the challenges females farmers working in a masculine environment.

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Small Female, Large Bales is a short video where Kenny conquers stereotypes regarding strength and size of females and climbs a stack of bales wrapped in pink silage wrap.  She designed her own role where she herds cats not cows. Herding Cats is a film where the farmer’s daughter is dressed in a blue boiler suit and wellington boots. She gathers the cats for feeding time. She herds them through the farm. 

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The Feline Farmer is a video installation that features Kenny moving between the role of the artist and farmers daughter on her family's farm in Wexford. She examines the challenges she faces while working in a masculine environment. The visuals are depicting the daily life of a cat farmer living on a dairy farm. The video features her shifting from character to character, the artist on the farm and the farmer's daughter. Kenny has designed her own role where she herds cats not cows. The video is back projected onto a structure made from wood and milk filters. The image is reversed on the front panel creating a new farm where everything has shifted even the heir to the land. The wooden structure is transportable from farm to studio, Wexford to Dublin and farm to farm. When the milk passed through the filter it expands and then collapses. The sculpture is the same. The audio is made up of 2 layers. The original audio and her father's speaking about farming when he was younger. The visuals are feminine which contrasts with the masculine voice. 2 chairs are situated in front of the film. Labelled with either farmers daughter or artist.

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The Unconventional Shed is a video installation. The shed reflects Kenny’s height. Inside the shed contains a television mounted to the wall over a trough of hay. She uses the colour pink as a way of dismantling stereotypes. Inside the shed a television is mounted to the wall over a trough of hay. Her body acted as a tool for exploring beyond the barriers of gender roles. The video features a three-part series conveying the struggles female farmers face. A mixture of performative and detail shots have been edited together. The audio is an amalgamation of spoken words and background noise. Her brother read from a script, he is speaking about how tradition is more important than gender equality in the agricultural sector. The audio is experienced through headphones. The shed was built on her family farm in Wexford and transported to Dublin.

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Transportation is an important element in her work. Kenny commutes from Wexford to Dublin, all material is transported by bus. Her work has been situated in the studio and also in rural Wexford during a series called Farm Cinema. Kenny uses drawing as a storyboarding tool. Blind and continuous drawings are used to realise her work. The work reflects extensive research into Laura Fitzgerald, an Irish artist that works with video, text and drawing. She deals with personal and political problems artists deal with.

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