11/13/16 Ann Jastrab wrote about my series Falling for AllAboutPhoto.com:
The work from her series, "Falling" began at RayKo Photo Center when she was a resident artist a few years ago. She had applied for the residency program with a series of b&w images of carefully designed man-made and natural landscapes with a strangely brilliant night sky behind them. Too real to be real. So perfect and so strange.
10/8/2015 Sura Wood reviews Femme Papel at RayKo Photo Center for the Bay Area Reporter:
10/6/2015 Aline Smithson reviews Femme Papel at RayKo Photo Center on Lenscratch:
8/24/2015 Maria Proges reviews Night Begins the Day on SquareCylinder.com
8/04/2015 Michael Franco writes about my series Falling for CNET's Tech Culture section
8/4/2014 Nathaniel Ainley writes about new images from Falling on Vice's The Creators Project
7/30/2015 Taylor Glascock of WIRED writes about my series Falling.
7/17/2015 Nancy Ewart of the Examiner reviews Night Begins the Day at the Contemporary Jewish Museum:
"Vanessa Marsh looks at the night sky though her Chromogenic photograms - fabricated images which are composed of multiple layers of vibrant collage, an imaginary construction of distant galaxies, a beautiful “nocturne” as explained in the catalog. The photograms are a visual representation of what millions of Star Trek fans feel when they hear the opening sentence of the series - "to boldly go." In this case, the "go to" is manufactured here on earth but none the less awe inspiring."
7/1/2015 Jonathan Curiel SF Weekly reviews Night Beings the Day at the Contemporary Jewish Museum:
""Night Begins the Day" connects the dots among works that are complementary and challenging as art. Images of nuclear explosions that create mushroom clouds of centrifugal force (Michael Light's 100 Suns) are side-by-side with otherworldly photograms of the night sky with mountains (Vanessa Marsh's Falling). Marsh's cosmos is manufactured. Light's found explosions were just underground tests. Both are versions of reality that are wildly distorted. You feel alone in front of them, and it's this isolation — a beautiful isolation that some people would describe as "transcendent" — that's inculcated throughout "Night Begins the Day," starting with Peter Alexander's PA & PE."
6/28/2015 Aline Smithson features my work on Lenscratch:
6/22/2015 Cathy Bowman of the SF Examiner reviews Night Beings the Day:
6/28/2015 Matthew Strebe of The Culture Trip review Night Beings the Day:
"Vanessa Marsh’s Mountains series backs away from mortality while jumping headfirst into illusion. Her beautiful nighttime vistas appear to be photographs, but are in reality a 'complex combination of drawings, cut paper, and reverse color paintings on mylar.' The effect is spectacular, the subterfuge brilliant."
6/21/2015 John Held Jr. of SFAQ reviews Night Beings the Day at the Jewish Museum:
"The lens is focused upwards towards the heavens in the photographs of Vanessa Marsh. Hers is a nighttime sky arrayed with stars, from which she explores, “the intersections of man made, natural and cosmological power through a mixed media process based in photography.” Her artistic struggle occurs in the darkroom, where Marsh envisions the nighttime as a perpetual Aurora Borealis. They are stunning photographs that convey an unnatural grandeur."
2/23/2015 Sarah Coolidge interviewed me for ZYZZYVA's Blog:
2/4/2015 Nirmala Nataraj of The SF Chronicle reviews Everywhere All at Once at Dolby Chadwick Gallery:
"Marsh’s new show at the Dolby Chadwick Gallery, titled “Everywhere All at Once,” offers a series of (works) that evoke the haunting, moody and often personal associations we have with cosmic phenomena...which include photogramic techniques, summon themes of memory, isolation and the incredible vastness of nature."
12/23/2014 Becky Chung of PDN's Photo of the Day writes about Falling:
"Oakland-based artist Vanessa Marsh created galaxies and nightscapes by combining painting, drawing and darkroom techniques. These large-format C-prints envelop the viewer, transporting them into the universe."
12/2011 IntheMake Artist Profile, by Nikki Grattan and Klea McKenna, IntheMake.net
"The physicality of her work; the layering strategy of her drawings for each piece, the arrangement of the models, and the shadowy images that she creates all seem to mirror a central thought— that our sense of place in our environment, our belonging and understanding, is an inconstant, volatile and fragile foothold, at best. And, that it’s not just our foothold that’s shaky, but the land itself."