MARLEYxSH SydneySELECTED WORKS
MARLEY is a creative technologist and illustrator based between Sydney and Berlin, with an interdisciplinary practice that spans painting, illustration, textile design, videography, publication design and blockchain experimentation. 

Trained in oil painting at the National Art School Sydney, then studying publication and print media at Royal Melbourne Institute of Technology (Melbourne), her work spans traditional media and experimentation with digital technologies. She co-founded Toy Frens, a blockchain-native NFT community on Ethereum, exploring the intersection of digital and physical realms through photography. Her work engages with the archive as a living, participatory experience, questioning how information is shared and reimagined. As a digital nomad, Marley shapes creative dialogues between technology, memory, and collective agency.
  Toy Frens NFT [Metaverse]
6thouse Tattoo [Global]
Softwear [Fashion]
An offering of ones body as extraneous clothing [Melbourne]
Beheading of a Tall Poppy [Berlin, Residency]
Liminal Conversations, Gertrude Street Projection Festival [Melbourne]






TOY FRENS NFT [Metaverse]


#blockchain #founder #photography #metaverse

Four free mint photography collections, following a three-hour sellout of a 666 NFT pfp promotion. 

Featuring prominent Australian Fashion photographers Byron Spencer, Luke Schuetrumpf, Darren Macdonald and Nicholas Garcia. 

Holders of the Toy Frens were able to mint each released collection, summounting to over 2600 one-of-one photography NFT’s created and produced from the project, more photographs than any four photographers would historically produce in their lifetime. What was created was arguably the first test case of it’s kind. A community model for the shared interest and vested experimentation of Etherium certified artworks. 


  1. Toy Frens (Opensea)
  2. Toy Factory Time Capsule



6THOUSE [Global]


#business #graphicdesign #tattoo #storytelling 

  1. @6thouse (Instagram)


Softwear [Wearable]


#fashion #philosophy

An offering of ones body as extraneous clothing 
[Melbourne]


#photography #textile #sculpture #textile
Shannon May Powell and MS.

The offering of one’s body as extraneous clothing (2017)

photographic print on satin

92 x 140cm. 



how to behead a tall poppy
[ARTBiesenthal]


#residency #sculpture #berlin

ie.ms—

how to behead a tall poppy (2019)

Presented at ART Biesenthal, Berlin. 

Cotton jacquard weave


How to behead a tall poppy (2019) depicts an imaginative vision of the destruction of ‘tall poppy syndrome’ and questions such systems that allow for its metastasis. Colloquially, ‘tall poppy syndrome’ is often used in Australia and refers to the idea of cutting a tall poppy to size, that is undermining the success of the other in favour of remaining the same. Suspended, the two panels (2030 x 1520) hang in conversation with the viewer, who was invited to fall into the altered realm of collaged image and the violent backside of inverted red chromatic thread. The tapestry reads: red-bottom stilettos worn by morphed bodies that mingle in the wild flower hordes; brought down to earth on the same geo-level as the soil from each poppy that grows. Monumental buildings, architectures reveal themselves in outer-rings of the cyclical composition suggesting the influences of established systems in the collective syndrome. 



Liminal Conversations 
[Melbourne]


#projectionmapping #publicart #festival #melbourne

Selected for the innaugual exhibition of Gertrude Street Projection Festival. A collaboration between Shannon May Powell, Louis Groupe and Marley Sheridan.

‘Liminal conversations’ is a short video projection commissioned by Melbourne art collective Proximity. 

The work is a conversation between writer Shannon May Powell and graphic artist Louis Grope. The coming together of these two artists creates a new visual dialogue and interim of their two preferred mediums breaking down structures imposed by media that each artist is familiar. Played on a loop, the video scrolls through Powell’s words, creating a dream-like sense of nostalgia and touching on themes of self-reflection. Louis Grope subverts the flow of Powell’s prose with geometric shapes, very much alike to the chaotic disruption of buildings and architectural structures that form the city district skyline. This conversation of medium: words, graphic grids, architecture; and the metaphysical: the space between, the mind, illusions, memory; splayed on the exterior of buildings uncovers the coming together of interior and exterior worlds.