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Catrin Morgan
THIS WEBSITE IS STILL BEING MADE AND MAY 
NOT MAKE TOTAL SENSE  

Current

Past
  1. Desiring Machines
  2. Nottingham: Sewers
  3. Nottingham: Walks
  4. Nottingham: Messages
  5. The Butterfly Library
  6. A Book
  7. Phantom Settlements
  8. The Age of Wire and String: Initial Images
  9. The Age of Wire and String: Granta Books
  10. The Age of Wire and String: Terms
  11. The Age of Wire and String: The Animal Husband
  12. The Taxonomy of Deception
  13. Numbers Stations
  14. Noise Stations
  15. Russia House
  16. 1042 Bletchley Park Mansions
  17. We worked in huts that were heavily disguised
  18. Nottingham: Shopping Centres
  19. Studies
  20. Cassiopeia
  21. Maypoles, Osses, Green Men
  22. Cakes and Biscuits
  23. Counting Primes
  24. Parasitic Printing
  25. Studies for Studies
  26. A Study
  27. Jerome’s Study
  28. Chickens
  29. Comfort and Hygiene
  30. Mail Projects

Writing

  1. The Nomadic Illustration
  2. Death of a Princess
  3. Bodies in Spaces
  4. Refusing Representation

Themes
  1. Boundaries
  2. Water
  3. Layers
  4. Connection
  5. Repetition
  6. Authenticity
  7. Rules
  8. Empty buildings
Mark

We worked in huts that
were heavily disguised
(2015-17)



We worked in huts which were heavily disguised
Pencil on paper
Each piece 176mm x 250mm


Oh, I can hear morse code in the birds, the vacuum cleaner…
I can hear it.

This work is a partial Morse Code transcription of an interview with Margaret Dunkelman which I conducted in 2013. Margaret was recruited to signals intelligence as a teenager and spent WWII listening to Morse Code transmissions from Europe.




What's beautiful to me about Morse code is the different ways that it can be expressed; you could embed it into an image or in music, you could write in it, you could blink in it, it could be a hand opening and closing or it could simply be transmitted via touch. 

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