In 1923, inspired by a biography of Marie Curie, she was able to return to London to study in the British Museum Reading Room, then studied sculpture at the Penzance School of Art, before taking up painting and setting up a London studio in 1926. At this point in her life she permanently adopted a masculine appearance (short hair, cravat and jodhpurs) and changed her forename to Marlow.
In 1927 she visited, and later moved to, Paris where she met her lifelong partner, the Dutch writer A. H. Nijhoff (Antoinette Hendrika Nijhoff-Wind, wife of the poet Martinus Nijhoff). She was a pupil of Léger and Ozenfant at the Académie Moderne, but her style was particularly influenced by Piet Mondrian. She was also acquainted with Georges Vantongerloo and Jean Gorin. In Paris she was a founder member of the Abstraction-Création association, and exhibited with the Salon des Surindépendants.
At the beginning of World War II she left France to live near Lamorna Cove in Cornwall, studying architecture at the Penzance School of Art. For the rest of her life she lived and worked in Cornwall, frequently visiting Paris. She joined the London branch of Group Espace and had solo exhibitions at the Hanover Gallery in 1953 and 1958.
She died of cancer in 1958, and her ashes were scattered on the sea near Lamorna.
Post-war, her architectural studies led her to develop sculptural and relief works such as the 1956-7 Balanced Forms in Gun Metal on Cornish Granite, while she continued to paint, developing a style structurally similar but more colourful than early works.
Despite the innovative nature of her work, her early base in Paris and later reclusive lifestyle led to a low-key reputation as a British artist, and until the 1980s she was viewed as a minor Mondrian imitator. Her works are now held at the Tate and the Henry Moore Institute.