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“a particularly unsettling performance piece by De Lellis—which made one pretty puzzled woman get down on the floor and stare at it upside down”

2016, on (In)/Animate Objects

“I am concerned that no one in the Democratic field has the sex appeal necessary to be elected president in 2016,” explained artist Marsian De Lellis of his work. “Bernie Sanders is Finger Lickin’ Good.” “The current media landscape has become infected with a Kardashian Effect where celebrity and reality show behavior trump substance in the ratings grab. Sure, Bernie Sanders’ social and economic justice policies are sexy, but I worry that the whole ‘Feel the Bern’ hashtag popular with his supporters sounds like a slogan for chlamydia or at least a UTI — and that burning (Berning) connotes more of a destructive force. I am taking a different approach with Bernie Sanders in ‘Finger Lickin’ Good’ and I hope America is ready to consume what Sanders is serving.”

Huffington Post
2015, Los Angeles

“The piece, which questions on a cosmic level our artificial divide between the animate and the inanimate, has the appealing, droll humor and structural unity of a David Sedaris story.”

LA Weekly
2014, Los Angeles on Object of Her Affection

“eccentric adult puppetry that oscillates between adorable, abject, campy, and earnest”

 – New Urbanite
2011, Baltimore, on Fudgie’s Death

“De Lellis’s series, ‘Side Effects’ shows a range of different pills, their identifying marks and different shapes and sizes, in a disco-ball-like, festive, and colorful environment. The manipulation of of psychosis and schizophrenia diagnoses by medication, the treatment of choice within biomedicine, is refigured into a carnivalesque hallucinatory vision. . . Ambivalence hangs over the exhibition: a fascination and revulsion, attraction and denunciation, a buying in and buying out”

The Scar Of Visibility:
Medical Performances And Contemporary Art

2007, University of Minnesota Press, on Side Effects, an installation 

“colorful, elaborate, nightmarish”

The Scotsman
2008 (Edinburgh), on Growing Up Linda

“Technology meets traditional storytelling to great effect… De Lellis is an engaging performer who delivers the story with deceptive nonchalance”

2010 (Orlando), on Fudgie’s Death

“a debt to celebrity-obsessed daytime television brought the fusion of trashy and glam to its peak.”

Three Weeks
2008 (Edinburgh), on Growing Up Linda

“a crazy hall of mirrors, flashing bits of a story from multiple angles.. held together by a strong idosyncratic personal aesthetic. And lots of fake fur”

– Puppetry International
2009, on Growing Up Linda

 “Demented, touching, and inherently strange”

2010 (Los Angeles), on Bride of Wildenstein – The Musical

“While most would gasp in horror or laugh at the tragic story, Marsian finds the humanity in her gruesome story and embraces the shame monster that lives inside all of us.”

– Feast of Fun Podcast
2010 (Chicago

), on Bride of Wildenstein – The Musical

“light years away from the child-oriented Muppets universe that Jim Henson introduced.”

Calgary Herald
2011, on Fudgie’s Death and Object/Fetish

“If you’re a fan of the glee-fully debauched Rocky Horror picture show or the irreverent humor of South Park then you’re doubtlessly in for a treat.”

2009 (Orlando), on Bride of Wildenstein – The Musical

  “[Marsian] portrays both Jocelyn [Wildenstein] and hubby Alec with a double sided costume, allowing character switches with a spin of the high heel.”

Archikulture Digest
2009 (Orlando), on Bride of Wildenstein – The Musical

“making the ridiculous insane in the best sense.”

  – The Weekly Dig
2003, Boston, on Who’s Afraid of the Virgin Mary

“delightful puppetry”

The Boston Herald
2003 (Boston), on Who’s Afraid of the Virgin Mary

 “playful puppets to illustrate Mary and Joseph’s long journey to Bethlehem.”

Bay Windows
2003 (Boston), on Who’s Afraid of the Virgin Mary

“most startling entrance by a pig in years.”

Theatre Mirror
2003 (Boston), on Who’s Afraid of the Virgin Mary

“..a whole slew of WTF”

City Paper
2011 (Baltimore), on Fudgie’s Death and Object/Fetish

” The flash of science, and its miraculous color effects, beams, transpositions, and traversals, glistens on the photo paper.”

The Scar Of Visibility:
Medical Performances And Contemporary Art
2007 (University of Minnesota Press), on Side Effects, an installation