Expectations – Kennedy Chinn

Expectations – Kennedy Chinn

Expectations – Kennedy Chinn

Expectations determine the distance between reality and our experience. We attach the perceptions of others, our hopes, fears and our past encounters to a glass wall separating us from how things are. It allows for unique perspectives, imagination, surprise; but also invites comparison and disengagement. Deviations from the expected are seen as offensive or shocking. Since expectations are inherently confining, this shock becomes inevitable—creating a potential chain reaction of miscommunication, amazement, or dissatisfaction. This theme is explored through the ideas of anticipatory grief and autonomy.

A major area expectations impact are relationships. Often this creates a barrier between both or multiple individuals. There are two ways this exhibition delves into this idea, one being anticipatory grief. When you’re in-the-moment, and you know that it will end at some point, there’s almost this meta-grief that comes with it. But you almost spoil it by borrowing the grief from the future. This haunted me during my senior year, as I knew that none of my friendships would never be the same again. Strangely, I thought of this in the moment—a melancholic, oh, this is the last time it will ever be like this. ‘Anticipatory grief’ discusses how just like getting a flash-back to the past, we can just as easily dread our futures.

The second way relationships are discussed is through expectations placed on romance. The portion of the population highly focused on romance dominate culture and society, and because of its emotional ties, it is able to be sold as mandatory. This creates a cycle—‘romantics’ force this idea onto others, creating a pressure to participate in romance, and when others feel they ‘must’ participate, they contribute to the pressure for a sense of fairness. Condescension underlining phrases such as you’ll change your mind when you get older, originate from this cycle, demeaning individuals with other focuses. Ideas for this section of work came from the constant, infuriating, reactions to telling others I don’t desire romance. Dreaming of independence is often deemed as immature, or, in some people’s eyes, minimises your value as a person. These works aren’t meant to be critical of those who focus on romance—there is nothing noble about not wanting to be in a relationship–but to rather call into question why others feel they must perpetrate this expectation.

Perception interacts heavily with expectations. How someone perceives you determines how you are supposed to act. Changes from this perception, even if it’s more ‘true’ to who you are, is shocking. But there is still the expectation to play into this perception, especially if it is in your best interest. This is shown when we conform ourselves to seem more ‘put together’ than we are in order to adhere to this expectation. Being ‘able’ handle things, means that you’re expected to in the future. It ties into the idea of fulfilling potential—you’re seen more for what you can be, rather than viewing things independently.

These works are multi-media, made with oil paint, acrylic, charcoal, pencil crayon and paint pen. They were planned from 2024-2025, and created within a few months in 2026.

Kennedy Chinn is a multi-disciplinary artist located in Lethbridge, Alberta. While working towards a B.A in Art at the University of Lethbridge, she has cultivated a strong passion for learning and storytelling. She has directed theatre, worked as a journalist under The Meliorist and completed multiple mural, photographic, and creative writing projects in recent years. With a jack-of-all-trades mentality, she is enthusiastic to contribute wherever she can to achieve creative goals regardless of scale. Her love for learning and problem solving drives a desire for roles where she can cultivate this passion with others. She will happily tell you all about her interests—just clear your schedule for a few hours.

In 2024, she received the Aspiring Artist Award from the Allied Arts Council for her contributions to the Lethbridge Arts scene, as well as the Lethbridge School Divisions Innovation, Creativity and Entrepreneurship Award in 2023, and the Calder Student Advocacy Award in 2025. Working under Jill Stanton, an internationally recognised mural artist, she painted Passing Spaces at the City Center Terminal. She has been participant in multiple group exhibitions including Metamorphosis at The Penny Gallery, UofL’s Vibe Fest, and Art is Alive and Well in Schools at SAAG, where she received the University Faculty of Fine Arts Award of Excellence. Her writing and directing experience include original plays: “Do You Feel Better?” (2024) and “Evelyn the Almost-Great,” (2025). An academic at heart, she presented her research on storytelling theory at Lethbridge Public Research Interest Groups “Art as Advocacy” conference. Honestly? She’s willing to work on just about anything.

Date:June 13th, 2026  -  August 21st, 2026

Location:Casa - Focus Gallery

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