The odds

Collaboration by Richard Denny + Kristi Kangilaski

The ratio of probability of an event occurring to the probability of it not occurring.

Using vintage Soviet maps. gleaned from un recorded places in the the old empire. The former tools of the navigator were painted and torn, then applied to the still intact map covers, by one artist. The works were then handed over to the collaborator. The pieces were then worked over without hinderance and only directed by the shapes on the ‘canvas’ to create the finished article.

The odds were created in 2015, by Kristi Kangilaski and Richard Denny in Estonia

 Artist CV



New work by Richard Denny

In the Pascuense language of Easter Island, the word tingo refers to a person who borrows objects from a friend’s house, one at a time, until there is nothing left. In the English language, no word exists for the concept of tingoism.

Language may influence our understanding of colour (having multiple words for different shades and colours makes it easier to recognise them) or orientation (linguistic variation in geographic descriptions). Conversely, perhaps the lack of words or the grammatical structure of the language one uses, establishes or influences one’s perception of the world.

Tingo forms part of Richard Denny’s on-going series of work, is the map the territory.



Once whilst meandering through the streets of an unusually snow-covered Marseille, Richard Denny discovered an abandoned box of maps. Upon further examination it was an extensive collection, holding topographic portrayals of most regions of France.

As the overlord of general semantics, Alfred Korzybski, once said: “A map is not the territory”. This highlights the notion that one can peer at a map, and understand the layout of the land via it, but the map will only ever signify the geography of what is there, never accurately describe its nuances. With any space comes a set of rules and regulations - and with the collision of cultural spheres that permeate the atmosphere, the potential for creative ignition is heightened. Due to his lack of French, Denny was effectively a linguistically paralysed mute in the land of Euro- Afro fusion that is Marseille. Maps became his primary interactive tool and fast became a double- edged canvas used to vocalise and navigate his culturally imposed silence.

By deploying the found maps as an actual canvas, and a basis for his characters, he has found a means of dripping flavours of personality and territory over the maps. Using the lines of contour, river, border and road, Denny would paint in his own lines, shapes and textures. Later, from these cartographic cross-hatchings would emerge characters representing people, daily experiences or settings, that Denny acknowledged inhabiting the streets in his new home. He used what little he had at hand to locate himself in his new culture showing telltale signs of a bricoleur.

By Morgan Campbell