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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

Russia House
(2011)



Corrugated and honeycomb cardboard, wire, wood veneer, paper, industrially engraved labels
Each model approx 400mm x 500mm

Installation at The Florence Trust (2011) 

Exhibition design Valerio di Lucente (Julia)

Whilst I was researching the Numbers Stations drawings, I became interested in imagining their physical reality. The act of transmission locates the source of a sound in a particular space, and broadly speaking, the spaces that the numbers stations are transmitting from are unknowable except to those directly involved in the broadcasts. In the online classification of numbers stations, stations are gendered and put into national (family) groups. One of the largest number, of related stations at the time I made these sculptures were those thought to be broadcasting from Russia. I made these two models imagining mashups of domestic and bureaucratic spaces in which each of the Russian number stations might be broadcasting from a room. I wanted the sculptures to be as blank and utilitarian as possible because I wanted the viewer to imagine what was missing; to become part of the speculation.

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