“Fantasy of a Cockroach” is a ten-minute digital film, which, through vocals and emotional intensity is reminiscent of Noh Theatre. Sibio chooses to explore the relationship between the poor and those in power in the country. It was created in 2004 when George Bush was running for president but the issues remain current: Oppression of the poor to entitle the rich to make more money.

To View Excerpt – Click HERE

“Fantasy of a Cockroach” is a ten-minute digital film, which, through vocals and emotional intensity is reminiscent of Noh Theatre. Sibio chooses to explore the relationship between the poor and those in power in the country. It was created in 2004 when George Bush was running for president but the issues remain current: Oppression of the poor to entitle the rich to make more money.

To View Excerpt – Click HERE

“Fantasy of a Cockroach” is a ten-minute digital film, which, through vocals and emotional intensity is reminiscent of Noh Theatre. Sibio chooses to explore the relationship between the poor and those in power in the country. It was created in 2004 when George Bush was running for president but the issues remain current: Oppression of the poor to entitle the rich to make more money.

To View Excerpt – Click HERE

“Puzzles of the Gods” is a 1-hour performance piece that investigates the characters in the painting series “The Insanity Principle.” The Insanity Principle features many “visual” characters from a paraplegic to abused children. In the performance piece “Puzzles of the Gods” Sibio explores the characters in the paintings, along with other characters she feels represents the paintings on an intellectual and emotional level.

The trappings of the work include heavy make-up, a wheelchair, a nurse (to assist the autistic main character) to hand Sibio puzzles she can never solve. Character breaks are used to explore Marcus and his Medi-Cal prostitute mother. Angie (another character looking for love) and starts out as a science instructor at a Catholic high school. Angie ends up dying alone in a bathtub from an overdose of heroin. Sibio takes the visual images and weaves a street tale of love and distress into a montage with abstract vocal work and text.

Technical: Dressing room with good mirrors, wheelchair, black light in two floor lamps; red, blue, and white lights and a wall that is white and preferably has a corner in it.

For Bookings: Contact the artist.

“Puzzles of the Gods” is a 1-hour performance piece that investigates the characters in the painting series “The Insanity Principle.” The Insanity Principle features many “visual” characters from a paraplegic to abused children. In the performance piece “Puzzles of the Gods” Sibio explores the characters in the paintings, along with other characters she feels represents the paintings on an intellectual and emotional level.

The trappings of the work include heavy make-up, a wheelchair, a nurse (to assist the autistic main character) to hand Sibio puzzles she can never solve. Character breaks are used to explore Marcus and his Medi-Cal prostitute mother. Angie (another character looking for love) and starts out as a science instructor at a Catholic high school. Angie ends up dying alone in a bathtub from an overdose of heroin. Sibio takes the visual images and weaves a street tale of love and distress into a montage with abstract vocal work and text.

Technical: Dressing room with good mirrors, wheelchair, black light in two floor lamps; red, blue, and white lights and a wall that is white and preferably has a corner in it.

For Bookings: Contact the artist.

“Puzzles of the Gods” is a 1-hour performance piece that investigates the characters in the painting series “The Insanity Principle.” The Insanity Principle features many “visual” characters from a paraplegic to abused children. In the performance piece “Puzzles of the Gods” Sibio explores the characters in the paintings, along with other characters she feels represents the paintings on an intellectual and emotional level.

The trappings of the work include heavy make-up, a wheelchair, a nurse (to assist the autistic main character) to hand Sibio puzzles she can never solve. Character breaks are used to explore Marcus and his Medi-Cal prostitute mother. Angie (another character looking for love) and starts out as a science instructor at a Catholic high school. Angie ends up dying alone in a bathtub from an overdose of heroin. Sibio takes the visual images and weaves a street tale of love and distress into a montage with abstract vocal work and text.

Technical: Dressing room with good mirrors, wheelchair, black light in two floor lamps; red, blue, and white lights and a wall that is white and preferably has a corner in it.

For Bookings: Contact the artist.

“St. Pity” is a feature digital film where filmmaker, Blake Brousseau, uses performance/visual artist Linda Carmella Sibio as the single subject when, in his own words, “explores the relationship between madness and creativity.” In the 1hour 10 min. piece Sibio explores characters which gives the filmmaker the opportunity to capture spontaneous moments, fragments if you will, and assemble them into a cohesive picture much as the artist does in her paintings, her performance, and in many ways in her daily life.

Structuring the movie around fragmentation, one of the principle symptoms of schizophrenia, offers the viewer a brief glimpse of the struggles and obstacles faced by Sibio (who is schizophrenic) as she pursues a career in the arts.

Click the links below to view

TRAILER BEAD HALO – Excerpt LOOK AT ME – Excerpt

Technical: Digital projector, screen

For booking Contact the artist.

“St. Pity” is a feature digital film where filmmaker, Blake Brousseau, uses performance/visual artist Linda Carmella Sibio as the single subject when, in his own words, “explores the relationship between madness and creativity.” In the 1hour 10 min. piece Sibio explores characters which gives the filmmaker the opportunity to capture spontaneous moments, fragments if you will, and assemble them into a cohesive picture much as the artist does in her paintings, her performance, and in many ways in her daily life.

Structuring the movie around fragmentation, one of the principle symptoms of schizophrenia, offers the viewer a brief glimpse of the struggles and obstacles faced by Sibio (who is schizophrenic) as she pursues a career in the arts.

Click the links below to view

TRAILER BEAD HALO – Excerpt LOOK AT ME – Excerpt

Technical: Digital projector, screen

For booking Contact the artist.

“St. Pity” is a feature digital film where filmmaker, Blake Brousseau, uses performance/visual artist Linda Carmella Sibio as the single subject when, in his own words, “explores the relationship between madness and creativity.” In the 1hour 10 min. piece Sibio explores characters which gives the filmmaker the opportunity to capture spontaneous moments, fragments if you will, and assemble them into a cohesive picture much as the artist does in her paintings, her performance, and in many ways in her daily life.

Structuring the movie around fragmentation, one of the principle symptoms of schizophrenia, offers the viewer a brief glimpse of the struggles and obstacles faced by Sibio (who is schizophrenic) as she pursues a career in the arts.

Click the links below to view

TRAILER BEAD HALO – Excerpt LOOK AT ME – Excerpt

Technical: Digital projector, screen

For booking Contact the artist.

“White Lilies, Black Mud” was premiered at The Studio at the Red Cat Theatre in November 2008. It is a ten-minute piece, which delves into the formal issue of black and white through using white lilies and black mud as a symbolic metaphor. The Lily needs the mud to grow and the mud needs the lily to show its beauty to the world. The piece also delved into the civil rights movement in the 1960’s using Charleston, W. Va. as the site for the story. The work juxtaposes two genocides: the white one in Bosnia and the Black one Rwanda. It explores how the world reacts to the human black and white issues. In the end the Lily and the Mud are there to stay thus saying that black and white are interrelated and one cannot survive without the other. To View Excerpt – Click HERE

Technical: Digital projector, screen or white wall, and white lights.

For Booking Contact the artist.

“White Lilies, Black Mud” was premiered at The Studio at the Red Cat Theatre in November 2008. It is a ten-minute piece, which delves into the formal issue of black and white through using white lilies and black mud as a symbolic metaphor. The Lily needs the mud to grow and the mud needs the lily to show its beauty to the world. The piece also delved into the civil rights movement in the 1960’s using Charleston, W. Va. as the site for the story. The work juxtaposes two genocides: the white one in Bosnia and the Black one Rwanda. It explores how the world reacts to the human black and white issues. In the end the Lily and the Mud are there to stay thus saying that black and white are interrelated and one cannot survive without the other. To View Excerpt – Click HERE

Technical: Digital projector, screen or white wall, and white lights.

For Booking Contact the artist.

“White Lilies, Black Mud” was premiered at The Studio at the Red Cat Theatre in November 2008. It is a ten-minute piece, which delves into the formal issue of black and white through using white lilies and black mud as a symbolic metaphor. The Lily needs the mud to grow and the mud needs the lily to show its beauty to the world. The piece also delved into the civil rights movement in the 1960’s using Charleston, W. Va. as the site for the story. The work juxtaposes two genocides: the white one in Bosnia and the Black one Rwanda. It explores how the world reacts to the human black and white issues. In the end the Lily and the Mud are there to stay thus saying that black and white are interrelated and one cannot survive without the other. To View Excerpt – Click HERE

Technical: Digital projector, screen or white wall, and white lights.

For Booking Contact the artist.

“White Lilies, Black Mud” was premiered at The Studio at the Red Cat Theatre in November 2008. It is a ten-minute piece, which delves into the formal issue of black and white through using white lilies and black mud as a symbolic metaphor. The Lily needs the mud to grow and the mud needs the lily to show its beauty to the world. The piece also delved into the civil rights movement in the 1960’s using Charleston, W. Va. as the site for the story. The work juxtaposes two genocides: the white one in Bosnia and the Black one Rwanda. It explores how the world reacts to the human black and white issues. In the end the Lily and the Mud are there to stay thus saying that black and white are interrelated and one cannot survive without the other. To View Excerpt – Click HERE

Technical: Digital projector, screen or white wall, and white lights.

For Booking Contact the artist.