His art is identifiable by his persistent use of figuration, his use of a naive or Outsider Aesthetic, distinct sense of humour, a handcrafted aesthetic, the tableaux or narrative as artistic strategies, the celebration of the everyday and the frequent reference to political, cultural and social events as well as personal experience.
'[3] Graeme Sturgeon believes that this aesthetic 'suggests that Jenyns is a naive artist viewing everything with an apparently wide-eyed innocence.
'[4] However, all agree that this exterior is deceptive, with Sturgeon adding that 'one suspects, that behind the apparently ingenuous exterior… there lies another, more profound reality, which will be well worth discovering.
Lastly, his use of the Outsider Aesthetic serves as a strategy in order to express his disapproval of certain aspects of the art establishment.
For Jenyns, the Outsider Aesthetic is symbolic of individual expression, and is a way of challenging dictated notions of taste and high art.
His titles often include puns (such as Putting Money Where Your Mouse Is (1967)), and his subjects are parodied (for example Humble Hero (c. 1984)), although generally in a good-humoured manner.