Marsh's early works embrace an outraged sense of balance and tension; rebellious preoccupations with existential conflict and violence contrast the brutalistic intensity in each form with a specific vulnerability. Depictions of self-destructive clashes between crystalline and machine organisms reflect the struggles of relationships, death, sex, and biological devolutions. Each acts in defense or opposition, as if pulled apart, intruded upon, or in defiance of another, and serves to give form to that which is felt but never seen.
His drawings explore surreal realms where sculptures exist as seemingly alien curiosities. However, these cryptic worlds offer insights and scathing criticisms of unsettling human issues. Paranoia, anxiety, and fear 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 his elaborate constructions and installations. See Devil's Night Ironworks, City Museum, and Phoenix House galleries.