The below info is current as of 26 February 2022 but the other pages have been hidden while the site is refreshed.

Marsha Bradfield rides the hyphen as an artist-curator-educator-fundraiser-researcher-writer and company director. In her academic role, she is Course Leader for MA Intercultural Practices at Central Saint Martins and teaches on BA and MA Fine Art at Camberwell College of Arts. Both colleges are part of University of the Arts London. Marsha also supervises PhD students working in the areas of art, design (the built environment), curating and their education and organisation.

Marsha founded Artfield Projects to provide SLOW art-related services that pertain to practice-based/led research. Artfield has been dormant during COVID-19 but will resume project planning and delivery (exhibitions, events, publications – increasingly attentive to post-internet [re]presentation). We also have a track record for creating meaningful research and development (interviews, focus groups and analysis), writing and editorial support (editing, proofing and content production) and art/design/curating-based educational services. Artfield is built on Marsha’s work with Pangaea Sculptors’ Centre as co-director between 2013 and 2018. PSC is a London-based resource for those creating and collecting sculpture and other forms of three-dimensional work.

As part of her practice of ‘art at large’, Marsha creates events, artworks, exhibitions, curricula, websites, publications and other projects that variously consider the subject of interdependence. Many of these pertain to authorship and/as cultural production. She works with groups including Critical Practice Research Cluster, Precarious Workers BrigadeRadBotsREBEL and the Incidental Unit (formerly the Artist Placement Group and O+I). These experiments often result in understanding that Marsha re-presents in publications, performative lectures and other remixes. Her accounts combine fact and fiction as she works with contexts, ideas, images, objects, processes, sites, structures and more.

Marsha works internationally and has been part of projects connected to Tate Modern (London), V&A (London), 16 Beaver (New York), Wyspa (Gdansk), Berlin Biennial 7 (Berlin), Centre A (Vancouver), ICA (London), The Knot (Berlin), Labor (Budapest), Matadero (Madrid), Summerfields (Glasgow), steirischer herbst (Graz) and Taipei Biennial 2000 (Taipei) and more. Marsha has also authored numerous publications, including ones for The Art of Research IIArtLeaks Gazette (with Kuba Szreder) and the Journal of Visual Arts Practice (JVAP). She has written two books, ON YOUR MARKS and Sculpting Practice: Catching a Train on the Move – London 2015 (the latter with Lucy Tomlins).

Marsha’s post-doctoral fellowship at Chelsea College of Arts (2013 – 2015) investigated economies and ecologies of collaborative cultural production. It was anchored in #TransActing: A Market of Values and the preceding season of research exploring value(s), valorisation and evaluation. This tracked with Marsha’s ongoing collaboration with Critical Practice, which also informed her practice-based PhD (completed in 2013. Marsha’s thesis proposes dialogic art as an approach to authoring collaborative cultural production, with this dispersed across the artworks, cultures and subjectivities that emerge when artists and others work together.

Marsha holds a PhD and PG Cert from University of the Arts London, a BFA from Emily Carr University of Art and Design, Vancouver, Canada and a BA Honours in History and History in Art from the University of Victoria, Canada. Between degrees, she lived in Taipei, Taiwan, where she worked as a docent at The National Palace Museum while studying Mandarin at National Taiwan Normal University (國立台灣師範大學國語教學中心).

Marsha was born in South Africa, grew up in Canada and has been based in the UK since 2006.

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