Catrin Morgan is interested in the narrative force of deception, mythologizing, and rumour in creative practices. She revels in the false starts offered by self-aware mischief-makers, and has taken as her raw material other cultural practitioner’s work. Morgan’s book Phantom Sentiments was made in cahoots with early- to mid-career male artists whose works deal in fabulated narrative arcs: Ryan Gander, Tom McCarthy and Jamie Shovlin. Her interest in typography (she is completing her PhD in Visual Communication at the Royal College of Art) is evident in such innovations as a font designed to be illegible – the equivalent of an undisclosed murmur. In her complex web of influences, Morgan draws from scientific diagrams, measuring and mapping technologies. These include a diagram of personal affinities based on the cycle of anaerobic respiration (Our father’s mistress), and a murder mystery based on cartographic depictions of islands (Mapping the moment at which your life will end). Each fictional story is thus embedded in a non-fictional framework. Morgan also draws from the machinations of contemporary cryptographers: the artist has recently been looking into the strange phenomenon of government-run radio signalling stations that broadcast cryptic strings of numbers, read aloud by human or mechanised voices. Various conspiracy theories have coalesced around these places – are they secret service broadcasts communicating to spies? The adventure, of course, is in the not knowing.