Finalist: Parkin Drawing Prize

2014 Parkin Drawing Prize
Academy Galleries, 1 Queens Wharf, Wellington, NZ
26 July - 27 August 2014
Fingers crossed!

Lineal Possibility #3  2014
paper, pencil, watercolour paint
140 x 70cm

Finalist: 2014 NZ Contemporary Art Awards

2014 National Contemporary Art Award
Waikato Museum 9 August - 9 November 2014
Opening night on the 8th of August.

No Indication  2014
wood, stainless steel, cotton
230 x 270 x 60mm

Accepted into the Chasing Fog Club

I have proudly been accepted into The Chasing Fog Club with this image:

It's Behind That Tree 1 April 2014
Wairamarama, Waikato, NZ

Work Held at Christchurch Public Art Gallery

I'm proud to announce that a work of mine is now held in the Olivia Spencer Bower Collection at the Christchurch Public Art Gallery, which you can get to here.

Home Is Where The Gorse Is 2013
found object, hessian, wool
210x70x50cm

Currently @ Bowen Galleries: Street Window Installation

Wander past 41 Ghuznee Street, Wellington to check out my latest work. 2 May - 16 May.

Lineal Possibility #3. Watercolour paint and pencil on paper. 140 x 69cm

Circular Possibility #2. Watercolour paint and pencil on paper. 140 x 89cm

YOURS @ Big Little Market Christmas 2013

A Thinner Line

6 March - 13 April 2014 at Corbans Estate Art Centre

Exhibition introduction

A Thinner Line is an installation of artworks which collectively consider the line between life and death. Marsh’s latest exhibition features reinterpretations of new works developed during her time at Campos des Guttiérez, an international artist’s residency in Medellin, Colombia

For the greater part of Marsh’s practice she tends to use the ‘materials of colonisation’ such as wood, wool, watercolour, textiles and creates installations with found or adapted objects. This exhibition features materials from Medellin such as terracotta and shoelace cord from the textile district.

Travelling to Medellin, Colombia for her first international residency Marsh indeed got to experience a ‘thinner line between life and death’. Marsh intended this to be a learning experience of crafting, as well as challenging herself to practice outside the context of New Zealand. She was interested in learning more about her position in the global cultural landscape as both a New Zealander, and as a descendant of the colonial movement.