Marsh’s most recent work, “Shift\t_ide.exe((Hydrofem))”, explores the role of artificial intelligence within contemporary art through a hydrofeminist lens. Taking the sea as both subject and metaphor, Marsh employs AI to generate an imagined underwater-scape, which is then transformed into a physical wet plate photograph. This dual process, melding digital code with nineteenth-century photographic chemistry, deliberately unsettles boundaries between the virtual and the material, the authored and the automated. In doing so, the work raises urgent questions about authorship, authenticity, and the influence of technology on how we perceive the world.

The inclusion of AI within this practice is both critical and practical. Marsh interrogates the biases embedded within datasets, drawing attention to how training data often reproduces cultural and gendered stereotypes. These algorithmic structures privilege dominant perspectives while silencing or distorting others, reflecting wider inequalities in representation. By juxtaposing this with the ocean, a space historically coded as feminine, fluid, and unruly, Marsh highlights the tension between water’s openness and adaptability and the restrictive frameworks of machine learning.

Through this work, AI becomes not only a tool but a subject of critique, allowing Marsh to consider how technology shapes, constrains, and potentially reimagines our collective visions of the world.