Mould Map 5
Black Box

Exhibition Fundraiser Print Set

16 × 2 Sided A6 Prints
1 × A3 Poster (Folded)
1 × 16pp A6 Comic
1 × 'Stealth Emitter' Patch
Laser Cut Colorplan / Custom X-band*
Edition of 500
Printed in the UK
Published 2016

£12 + P&P

Postage price guide HERE

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Concealment. Stealth. Unknown unknowns, black swans and sleeper cells. Conspiracy, tactical confusion and counter-intel (UFO narrative smokescreens). Greenwashing, industrial espionage and deceit (VW emissions hacking). Self-surveillance (voluntary driver monitoring for lower insurance premiums / health tracking for life insurance). Mission creep and stealth tax. Behind the scenes, hidden agendas. False flags, dark ops and black magik. Invisibility tech and the occult (hidden from sight), obscured, ambiguous. Invisible infrastructure and the technological sublime. Secret TTIP talks and shadow courts. Far-right extremist scapegoating narratives, deny complexity. Black as the baseline screen state, visions emerging from the darkness in low resolution. Mysterious crashes & disappearances. ‘The Truth’. Server centre as black box, to be embedded in the geological crust of the early Anthropocene, BIG data left to a distant future.

* please note we are almost out of material for the laser cut edition and orders placed after 30th August 2016 may come in an anti-static bag instead, but will still contain all listed items.

Antwan Horfee
Ben Mendelewicz
Blue Firth
Brenna Murphy
Caley Feeney
Daniel Swan
Jonny Negron
Julien Ceccaldi
Lala Albert
Lando
Noel Freibert
Parker Ito
Travess Smalley
Viktor Hachmang
Yannick Val Gesto

Edward Shenk (Poster)
GW Duncanson (Comic)
Hugh Frost (Patch & Packaging)
Leon Sadler (Patch & Black Box Zine)
 

Ben Mendelewicz

Ben Mendelewicz

Antwan Horfee

Antwan Horfee

Brenna Murphy

Brenna Murphy

Blue Firth

Blue Firth

Caley Feeney

Caley Feeney

Daniel Swan

Daniel Swan

Jonny Negron

Jonny Negron

Julien Ceccaldi

Julien Ceccaldi

Lala Albert

Lala Albert

Lando

Lando

Noel Freibert

Noel Freibert

Parker Ito

Parker Ito

Travess Smalley

Travess Smalley

Viktor Hachmang

Viktor Hachmang

Yannick Val Gesto

Yannick Val Gesto

Hugh Frost & Leon Sadler

Hugh Frost & Leon Sadler

Edward Shenk

Edward Shenk

GW Duncanson

GW Duncanson

GW Duncanson

GW Duncanson

Leon Sadler (1st 50 copies only - sold out)

Leon Sadler (1st 50 copies only - sold out)

Leon Sadler (1st 50 copies only - sold out)

Leon Sadler (1st 50 copies only - sold out)


Viktor Hachmang (Detail)

Viktor Hachmang (Detail)

Viktor Hachmang (Detail)

Viktor Hachmang (Detail)

Viktor Hachmang
Black Box Interview

Do you talk to people much about the work you make? Do you like talking about it? Sometimes it’s the only thing I can talk about for a while, other times it can be a hassle trying to explain imagery in words. It’s generally an embarrassing affair - best not to do too often. What are you working on at the moment? I’m researching new techniques (3D-software and printing) and some old ones (hand drawing, watercolours). What makes you most motivated to start a new piece of work? Seeing a historical piece of artwork and potentially using it as a reference in my own work. Do you feel safe? No, unfortunately anxiety seems to be a recurring issue when I’m working. What’s the most inspiring thing you’ve seen this year? This changes all the time, but at the moment I’m very impressed by traditional Chinese Gongbi painting. I like how artists in this style are able to switch from very dense, perspective based architectural passages to more fluid, loose and textural gestures found in nature, all within one image. What recently has had the biggest changing effect on your work? Deciding to do less commission-based drawing, leaving room for more personal, less polished work. Do you ever feel like your security is compromised? Yes. Unfortunately modern technology tends to give me an increasingly uneasy feeling. Do you make the kind of work that you want to see in the world? Yes, I think I do make the kind of work I’d like to see myself. I feel that this is a very healthy way to create work, albeit a very hard and precise task as one’s vision can be a bit blurry and confusing at times. And of course it’s certainly not the only means to make interesting work! Have you ever lied about what your work is or means? All the time, as the meaning of a construction of lines, colors and shapes can be very dense and/or oblique (by the way, is it possible to know the exact meaning of an object?). I don’t see it as a static thing - meanings of artworks can change over time and can be influenced by what other people say about them (positively or negatively). Is it better to be transparent in your creative practice, or more hidden? I think it’s better to be transparent, but it’s important to be weary of the cringe factor. Is there any particular conspiracy theory that has had an effect on you or shaped your thoughts/work? Recently I’ve been introduced to David Icke’s Reptilian theory, according to which a conspiracy of malevolent shape-shifting reptilian aliens control Earth. I believe it’s a famous one? To be honest, I’ve never been that interested in conspiracy theories, but this one stuck with me for some reason and tends to pop up in my recent drawings (mainly for comedic effect and the excuse to draw scaled snake-like creatures). So, er, do you have any secrets you want to share? I think I’ll pass.


Brenna Murphy (Detail)

Brenna Murphy (Detail)

Brenna Murphy
Black Box Interview

Do you talk to people much about the work you make? Do you like talking about it? Sometimes its hard but I think it helps me understand it better. What are you working on at the moment? Always just trying to maintain my lil ecosystem, building new rooms, new pathways, clarifying existing structures. What makes you most motivated to start a new piece of work? The void. Do you feel safe? Yes. What’s the most inspiring thing you’ve seen this year? The Oregon coast. What recently has had the biggest changing effect on your work? Greg Egan's books. Do you make the kind of work that you want to see in the world? I want to see work that is tapped into other dimensions, I want artists to be agents of that portal, delivering and deciphering for the benefit of all sentient beings. That's the ideal I try to step to, but u kno I'm just a lazy mammal. Is it better to be transparent in your creative practice, or more hidden? i strive for transparency but i don't force it. some things will always b hidden even from me. also part of the practice is inventing the context, which means sculpting the appearance of the practice intentionally to make it grow toward that form. Is there any particular conspiracy theory that has had an effect on you or shaped your thoughts/work? Matrix & Illuminati.


GW Duncanson (Detail)

GW Duncanson (Detail)

GW Duncanson (Detail)

GW Duncanson (Detail)

GW Duncanson
Black Box Interview

Do you talk to people much about the work you make? Do you like talking about it? Rarely have I had the opportunity - I had touched on the subject briefly in interviews with Electric Literature and Forge Art Magazine. I'm open to all parties interested in such things - I'm easy to get in touch with. What are you working on at the moment? I've been working on a longer (than what is usual for me) piece of visual narrative work-on and off- for some time now. I don't know what it's about. Apart from creating the short piece for Mould Map - I have recently completed one for a gay culture and slasher movie themed 'zine called NANCY out of Boston. Prior to that I had a comic published in š! #24 'Urban Jungle' called "Youth Offender". Over the past few months I have been involved with an animated series called Ziggy Giggleman that was created by Owen Kline and Charlie Judkins. It's funded by JASH and the platform is Verizon's Go90 app. There are three episodes so far and we hope to get additional funding to continue the series. Later today I'm going to be engineering a record for Avalanche Bob 33 - a rockabilly yodeler who sings exclusively about snowboarding. You might know him from The Best Show or Jimmy Kimmel. What makes you most motivated to start a new piece of work? The cure for apathy is to unlearn that it's not safe to want. Do you feel safe? Indubitably. What’s the most inspiring thing you’ve seen this year? I had occupied the body and mind of a young man stalking mega-fauna across the Bering land bridge 19,000 years ago. He was raised in Siberia and traveled to a more temperate place in North America. The experience is hard to describe. The juxtaposition of feelings of hardship and then joy - one of the most moving projections I've ever had. What recently has had the biggest changing effect on your work? Probably the warm weather. It's springtime in New York. I spend more time being physical and out-of-doors in the warmer months than cooped up inside making artwork. I sometimes say that I'd like to teach gym at the Comics Workbook Rowhouse Residency because I think it's important for an artist to balance body/mind health with academics and art making. Do you ever feel like your security is compromised? I don't feel like my security is at a standard that is lower than is desirable. Do you make the kind of work that you want to see in the world? I think it's important to challenge yourself. I enjoy seeing my work in the world and I like that it's designed for myriad interpretations but specific enough to guide the experience in a certain direction. What we want and what we see is in a constant state of fluctuation - a multi-dimensional feedback loop with both our temporal selves and our higher selves. Our construction of the past and future are affected by our present beliefs, goals, and biases. Have you ever lied about what your work is or means? All the time, as the meaning of a construction of lines, colors and shapes can be very dense and/or oblique (by the way, is it possible to know the exact meaning of an object?). I don’t see it as a static thing - meanings of artworks can change over time and can be influenced by what other people say about them (positively or negatively). Is it better to be transparent in your creative practice, or more hidden? It's exactly the same. Is there any particular conspiracy theory that has had an effect on you or shaped your thoughts/work? I'm particularly fond of the conspiracy theory scene in general. I've devoted copious time to their writings. I've been following the publications since the early nineties. I find it all very imaginative and interesting. I used to participate in some round table discussions here in New York and have written several academic papers on subjects that are recurring themes in that world. I occasionally use ideas from those escapades in my artwork though I couldn't classify my work as being shaped by them significantly overall. As for letting those ideas shape my thoughts - I hope not - as one's thoughts become actions - one's actions become habits - one's habits become character - and your character becomes your destiny. So, er, do you have any secrets you want to share? To attract more confirmation and selection bias into your life log onto www.thesecret.tv


Blue Firth (Detail)

Blue Firth (Detail)

Blue Firth (Detail)

Blue Firth (Detail)

Blue Firth
Black Box Interview

Do you talk to people much about the work you make? Do you like talking about it? I do talk to people about what I'm making - but I don't really like going into specifics. I feel I'm more inclined to talk to people about the ideas that form the work. What are you working on at the moment? I'm working on a series of floor pieces with some sound works thrown in. What makes you most motivated to start a new piece of work? Something I've seen? A moment - or a statement - or an image that chimes with whatever's in my head. Sometimes it's seeing a material but others it's seeing a shape or set up in the back of a film shot. Hearing people speak always sparks something. Do you feel safe? Um safe? Day to day I guess so. I have an overactive imagination and mostly only ever scare myself. What’s the most inspiring thing you’ve seen this year? Poul Gernes show at Louisiana - his hospital rooms. Wonderful. What recently has had the biggest changing effect on your work? Understanding not to feel pressured by whats expected of you - its taken me a while to feel confident in myself and how I want to work. Do you ever feel like your security is compromised? I lean towards skepticism and conspiracy. So yes, sometimes. Do you make the kind of work that you want to see in the world? The work is what it is - made with an understanding that I like work that acknowledges a world outside of the "Artworld" and isn't too self-referential. Have you ever lied about what your work is or means? I've never lied about work the work means (I'm not sure why you ever would?) but I have adopted different ways of speaking about it depending on the situation. Is it better to be transparent in your creative practice, or more hidden? Um..... both? I like to hide away to get work made, but opinions and other peoples thoughts do matter to me - so a balance. Is there any particular conspiracy theory that has had an effect on you or shaped your thoughts/work? All of them! My work always comes from some kind of occult thought - so any theory that contradicts a norm is always going to be a starting point. Disinformation and magickal processes mainly I guess - as I think this is how my practice works. I worked with Guy Lyon Playfair a while back and his thoughts on poltergeists and ESP are endlessly fascinating and terrifying. So, er, do you have any secrets you want to share? .........