DA HOOKA HAS SPOKEN
Marsh's early works (1990 - 1995) reveal a young sculptor fixated on welded steel forms derived from psychedelic drawings, attempting to find a voice and method. Rebellious preoccupations with existential grief, violence, and dysfunction creep awkwardly through the cartoonish, heavy style of these pieces, an influence of beloved mentor Jack Gron.
Depictions of self-destructive clashes between crystalline and machine organisms reflect the struggles of difficult relationships, death, and illness. Each portrays defense or opposition, as if being pulled apart, intruded upon, or walled off in defiance of another. The earliest tendencies to give form to that which is felt but never seen began taking root.
Marsh's drawings and prints explore surreal realms where sculptures exist as seemingly alien curiosities. However, these cryptic worlds offer bitter insights and scathing criticisms of unsettling human issues. Mortality, intimacy, and sexuality are met with sarcasm and mockery as Marsh attempts to make sense of the assault of living.
While each sculpture is static, the desire to have welded metal sculptures in performing and interactive contexts would later define more elaborate constructions and installations. See Devil's Night Ironworks, City Museum, and Alchemy Insanity galleries.