Marshall continues to explore the mind in her paintings. Early works presented were a cinematic escape into the freedom of the landscape of the mind, in parallel to early films which, referenced 'shadow work' by bringing paranoic subjects into the active experience and thus let go of the 'thought'. A pattern of letting go. Marshall frames according to the lense, reference to film, and structures some paintings like a roll of celluloid film. This presentation includes ‘Mirror’ works, manifesting reminders with words on canvas, of self worth. Paintings of the mind as a filmic universe using stencils depicting the locations , with wood hair snow stones from St. Moritz for example. And a Blindfolded series of drawings and paintings of sexual intercourse, relying on the mind to guide Marshall's hand. This promotes Kundalini energy which raises the spirit, a preoccupation Marshall explores.
All the work is autobiographical, the girl, her sexuality, the mother, the giver, the worry, the constraints, the journey of the woman beyond motherhood and then painting a path to freedom. Film installations include performances of Marshall drawing blindfolded.
