Cherish and I built a strong professional relationship whilst working together organising the Postopia exhibition. We spent a lot of our time discussing art and art practice. Cherish had asked me to help her cast herself for a work where she wanted to explore her own female form and her view that the use of the female body is not inherently exploitive but a means of portraying classical beauty. We joked together that this was very egotistical, to link her own form to classical beauty. I mentioned it would be nice to make a complementary cast of the male form and joked, in a juvenile fashion it would be funny to make a cast of myself with a massive hard on. Much to my dismay Cherish thought this was an excellent idea. Because we would both have a hand in making the objects and I had expanded on her idea, I asked if it would be okay to make this a collaboration and Marshall and Marshall was created.
THE ORIGIN OF ATTRACTION
(THE ID AND THE SUPEREGO)
THE ONLY WAY IS PLINTHS
For her degree show Cherish had been working on a series of objects which continued her practice of exploring personal subject matters through the use of text, objects and materials whilst investigating tackiness, bad taste and the fine between sincerity and cliché. She was unsure on how she was going to display the objects and all our various suggestions fell flat. In a tutorial it was mentioned that plinths would be the best solution providing they were well made and enhanced the work. Cherish had been shopping in Braintree (location to the structured reality television show TOWIE) and glanced into a home decoration shop window and noticed it was a wash with deep buttoned leather and mirrors and decided this was the aesthetic she wanted to achieve. Having spoken to me about the idea, I mentioned that she should be adventurous with her structure and offered my technical abilities, providing the plinth would become a Marshall and Marshall work. We sat down and jointly decided on the shape, I then drew the technical plans and worked out all the measurements. Cherish got the wood cut and began deep buttoning the panels. We then spent time together constructing the various parts and lastly applying the mirrors. My aim was to make an object that could be viewed as a sculpture on its own terms whilst simultaneously highlighting Cherish’s work, drawing upon the grid designs of modernism with a strong reference to minimalism.