5 Questions with Interdisciplinary Artist, Marsian DeLellis

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The work of Marsian DeLellis isn’t just “unique”.  It’s important.  It’s original. It leaves room for all of humanities “humaness”.  As the “labeling” and “otherness” that has brought America comfort for too long, continues to be dismantled and proven wrong, Marsian DeLellis points out how our idiosyncrasies can be quiet right.  The world needs more Marsians.  In a time where we get our “best thoughts” from micro-influencers, we deserve to be influenced by a wholly individualized point of view with purpose.  Here is “5 Questions with artist Marsian DeLellis”.

JMK:  If you had the chance to thank someone who didn’t realize how important they are to you, who would it be and what would you say?

MD: My first foray into theatre was a musical adaptation of a book on dinosaurs. I designed and performed shadow puppets as a first grader in Mrs. Amidon’s class.  In the process we explored our creative differences and worked with all kinds of people, including musical director, Ms. Houk.  Ms. Houk was strict and uncompromising. She ruled the piano and glockenspiel with an iron fist. She may have been moody but she just wanted to get the best work out of us. And although she sometimes instilled terror in children, the parents of our suburban Massachusetts town were pleased with the end product (and so was I).     

Mrs. Amidon also had us write and illustrate our own stories. Years went by and the stories evolved into screenplays that spawned installations and time-based visual narratives that became ever more elaborate. I’d like to thank Mrs. Amidon and Ms. Houk.

JMK:  Like so many puppet-centric artists, you are an excellent mimic.  In particular, you often reference your family when talking about your process. How has your upbringing effected your art?

MD:  I love interviewing people and seeing things from different perspectives and I don’t have to get everyone to agree with me. In the social media sphere labeling something as “problematic” has become a shortcut – a way to brush off  further discussion of something complex, potentially triggering, or that falls outside a binary – – Or to label something as oppressive without actually doing any of the work to think about what the problem is or why it exists. But where some see “problematic”, I see “problemagic” – an opportunity to welcome dialogue and generate new ideas and solutions in a world where tweets have all too often supplanted discourse. My dad was a pathologist, and I’ve always found what can go wrong to be far more interesting than what can go right.  At least that’s part of my particular brand of worrying. I find it valuable to hold space with people who have differing viewpoints – this is something collectively we could make a better practice of in the current political climate – where people have been manipulated by an algorithm that wants to keep us continually outraged and polarized.

My work celebrates the stories of unconventional people whose private manias become public fodder for tabloids and reality television. Combining their biographical material with autobiography becomes a means to channel my own personal struggles into something comprehensible.

JMK: When one looks at your body of work, it is hard not to see how broad and yet specific your work is.  You embrace and respect humanity’s individuality, strengths and weaknesses in a way that reads true to you as an artist. I would imagine that this unique ability creates a struggle to find a creative home as you grow into your next stage of your artistic life. Where do you think your work could best be nurtured and shown, and why?

MD: I am moving towards creating a space that can hold my work that is somewhere between the gallery world of installation and the theatre world of performance. Ideally I am looking for art spaces that are friendly to performances like Automata here in Los Angeles. As I forge my own way between the shadows of multibillion-dollar entertainment companies in Los Angeles, where I construct my own self-contained, idiosyncratic, queer, miniature universes. I am dismantling the idea of models merely as scaled-down representations of physical space, but sites to examine abstract concepts unencumbered by their epic scope or emotional weight.

I’m hijacking the term, “micro-influencer” – reclaiming it from advertisers and social media starlets who short-circuit our brains with a FOMO on behalf of corporations peddling products. As an artist who re-contextualizes object and puppet-based performance art, I own “micro-influencer”.  I wield diminutive cardboard objects in intimate settings to activate small audiences in subtle ways with big ideas that may not immediately go viral, but are at least contagious.

JMK:  Marsian, you laugh harder and more openly than most.  It’s truly beautiful and contagious.  What makes you smile or laugh?

MD:  It’s always something different. You’ll know when you hear me laugh.

JMK:  How does your spiritual practice relate to your art?   

MD:  I consider my yoga and gym practice to be spiritual – they both address me in some respects at the body level and my work is concerned a lot with the body and its excesses. I also see a spirituality in quantum physics and the whole idea that when looking at matter as a particle or a wave, the observer somehow by observing, effects the matter that is being observed. Similarly in my work, I am re-contextualizing the idea of the object and puppet-based performance art as form that occupies dimensional space, over time, in relation to the witness who changes what they are observing by their presence.

LA Weekly said of my upcoming performance, “Object of Her Affection” which opens at Automata September 27th and runs until October 13th that:

“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.”

And I really am interested in that, there is a moment when the protagonist as a teenager looses her virginity to a bad boy hunting rifle who tells her about the big bang when matter started to differentiate and some things became living and some things stayed things.

Marsian De Lellis is an interdisciplinary artist who combines sculpture, objects, installation, performance and handmade spectacles to memorialize obsessional lives. Their work celebrates stories of unconventional people whose private manias become public fodder for tabloids and reality television.

IG @hausofmarsian
Twitter @hausofmarsian
Tumblr @hausofmarsian
vimeo @hausofmarsian

Kickstarter FB Video: https://www.facebook.com/HausOfMarsian/videos/2111787655701682/

Kickstarter Page: https://kck.st/2MYOc1q 

Tickets: http://tinyurl.com/Object-of-Her-Affection

Photo by William Short Photography

5 Questions with Interdisciplinary Artist, Ty DeFoe


Ty DeFoe is a gentle soul with a lot to say.  He is a teacher and activist. Currently on Broadway, acting in Straight White Men, Ty embodies the word “Shapeshifter” in every way. Fun, funny and deeper than most bodies of water, Ty doesn’t lead with the awards or credits of which he has many.  Ty leads with, “How are you”? He speaks in a way that is well, Ty. We met working with Heather Henson on Crane: on earth, in sky, and have continued to introduce ourselves to each other since.  That seems to be Ty’s way.  He’s complex, simple, warm and searching… 

Here’s 5 questions with vanguard, Ty DeFoe.

What does the phrase “I see you” mean to you. 

To know someone or something’s being. A phrase I’m also trying to use in particular moments to vanguard against ableism.

As the understanding of the word “identity” continues to take shape, how do you define two spirit and how do you embody that definition in the modern world?

Embodying two-spirit is a role, as much as it is a responsibility. Traditionally it was a cultural role in the community and still is today. Today, two spirit means to transcend gender. To express. To activate.  To radically embodied you I am inside and all the ways I need to shape-shift through life.

How do you think traditional ecological knowledge could be folded into the mainstream in this country?

Traditional ecological knowledge is simple. Recycle. Give back to the Mother Earth. Treat her like a goddess.

What does your role as educator mean to you? 

My role as educator means to just be truthful to bend and shape when needed. To take care of community regardless of race, age, sexual orientation, gender, religion. It is to also be curious about things I do not know.

Your “job title” is ever changing.  What do you see your next role in life to be?

Desires to be a country music star.

MOST RECENT FAVORITE SONG:  ALL THE STARS by Kendrick Lamar, SZA.  The beats, the voices, the strings as a backdrop, the message.

Ty Defoe (Giizhig) (He | Him | They | We | Us), Oneida and Ojibwe Nations hyphenated-interdisciplinary artist. He is a shape-shifter, a Grammy Award, and a Jonathan Larson Award winner. Book and lyrics, Clouds Are Pillows for the Moon w/ composer Tidtaya Sinutoke (Yale Institute for Musical Theatre, ASCAP Musical Theatre Workshop); Hart Island Requiem (The Civilians R&D Group, GoodSpeed Musicals); Red Pine (Native Voices at the Autry; IAIA of Santa Fe); The Way They Lived (by Micharne Cloughley w/ The Civilians at the Metropolitan Museum of Art). Netflix guest star, Unbreakable Kimmy Schmidt, Public Studio’s, MJ Kaufman’s Masculinity Max. Recently seen on Broadway in Young Jean Lee’s, Straight White Men. Did a Robert Rauschenberg Artist in Residence. Resides in NYC and loves the color clear. CalArts, NYU’s Tisch.  tydefoe.com

5 Questions with filmmaker, Lisa Russell

Lisa Russell

She’s danced with P. Diddy, Busta Rhymes and Usher, won an Emmy and taken a very long ride with a group of storytellers on Willie Nelson’s tour bus.  Sure, Lisa Russell has some fantastic names to drop on her CV. But, that’s not the story that this passionate, talented and concerned filmmaker wants to tell.  Lisa Russell is focused on #Create2030, and has her eyes set on becoming a UN Arts Envoy.

Here’s 5 questions tailored toward teaching all of us a different vision for being “an advocate for change” and shifting the story.  

What drove you to start #Create2030?

#Create2030 is a new film and creative campaign to engage artists, storytellers and other creatives in helping to meet the Sustainable Development Goals (SDGs) -17 Global Goals set by the United Nations as a universal call to action to end poverty, protect the planet and ensure that all people enjoy peace and prosperity.  My drive to start #Create2030 is my 15 year career straddling the arts, social justice and global development work with UN/NGO agencies.  Although I have been producing films and curating artistic performances at high level UN events for my entire career, my main focus now is on building institutional credibility for artists at the United Nations and other global institutions.  Why is this important?  When I was attending the Town Hall meetings for the drafting of the SDG Outcome Document, there was only myself and another creative professional – a radio personality from the Caribbean – who were advocating for arts and artists to get incorporated into the document that would then help shape national policies around the world.  With more artists in the room, we could have had a louder voice.  But, accessing the United Nations is complex and sometimes intimidating.  My goal is eventually to become the UN’s Arts Envoy – advocating for artist’s needs and rights at the United Nations and also inspire, educate and train creative communities around the world to learn about the SDGs, promote them to those who may not have access to the information, and advocate for change.

Who is the biggest influence on your work? 

My work is shaped by a variety of people, because I wear many different hats, and straddle the artistic and humanitarian worlds.  With that said, my mentor – Jonathan Mann, who was the head of the first UNAIDS program who tragicly died in a plane crash in 1998 – helped me develop my voice as a global activist.  His principles around health as a human right and his no-nonsense way of dealing with bureacratic limitations inspired me to stay true to my roots, speak truth to power and be able to manuever equally comfortably between the highest levels of the United Nations to the poorest communities around the world.  In terms of artistic inspiration, most find it unusual that I don’t credit filmmakers for inspiring my film career. My film career has been mostly influenced by young spoken word poets I have worked with since 2003.  Their emotional, powerful means to confront social and racial injustices created the lens in which I viewed my global health and development work.  In other words, I see the problems of women unnecessarily dying in childbirth in African countries and young black men dying at the hands of police officers in the United States as coming from the same root problems. I only could learn this by being equally involved with the UN/NGO community and the poetry scene.

If you could learn anything, what would it be? 

If there’s something I want to learn – or in my case have to learn – in order to elevate my work, I’m usually do it.  Things I don’t do now that I would like to do?  DJ, paint and code.

Why is your favorite Hip Hop song important to you? 

Hard question to answer, but I would say one of the most impactful songs was “Nuthin But a G Thang” by Snoop Dogg because that song came out when I was dancing in a hip hop troupe in Southern California, and at the same time, running a girls group home. It was played during warm ups and also by the girls in the group home, as we drove down the 101 to pick up girls in Compton.

You’re someone who gets activated when they are fired up. What’s got you fired up?

In May of this year, I jumped on an old Willie Nelson tour bus with a bunch of other storytellers – filmmakers, a musician, a painter and artists with Pixar – to travel around the “rust belt” exploring innovative and unconventional ways that educators, maker spaces and others were redefining education. During the tour, I met an educator who is disrupting education in poorer, black neighborhoods.  He told me the story of his home town and a growing civil rights case taking shape that no one was really talking about.  He insisted on driving me to his home town for the day and I was so enraged by the blatant racism displayed by the city towards its residents, I decided to do the film.  In July, I returned to film for a week, and today, I’m on my way back for another week to collect some basic footage to start putting together a pitch reel.  I made it to the second round of the IFP/HBO True Stories development fund and crossing my fingers I can get the resources and support to bring light to this case and contribute my part into breaking down the systemic barriers that still exist for so many people in this country.


@lisarussellfilm, @create2030, #create2030, Lisarussellfilms.com

Check out her TEDx presentation here:  https://www.youtube.com/watch?v=EEsVhuD9a_M

So Many Questions. So Many Thoughts…


My name is Jean Marie Keevins and I am infinitely curious person.  I genuinely like people and find a great deal of pleasure listening to them and hearing about what makes them tick.  Going back as far as childhood, I have always spent a good deal of my time attending live interviews, reading short and long-form biographies and conducting private interviews myself.  Recently, I found myself with a deep desire to make my intrinsic interest in people more active.  After listening to Brian Grazer talk about his many years of “curiosity conversations”, I thought that’s me!  I need to be doing this, but in my own way.

This blog is intended to create one of may platforms that I will use going forward to simply talk to people.  Innovators, artists, cultural icons, leaders in their respective fields and more.  People that I find interesting.  I can’t wait.

Thanks for joining me!

~Jean Marie

It doesn’t take money to turn off the television and cultivate real bonding time. ~Marianne Williamson

“There’s a rainbow in the sky all the time.  Don’t be blind”. ~Ziggy Marley