Joey Serricchio

        This exhibition explored feelings of inevitability; a deep future and deep past that are unattainable. The title "Doom," is at odds with the actual works inside.

The word doom evokes fear and existential dread while the pieces inside are careful and tender. The contrast was meant to memorialize the small moments as a way to ease the discomfort that comes with the continuation of time and our individual endings.

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seaside:

2021
LCD display, C++, MDF, microchip.

        The single lcd display generates visuals through C# code. The program has birds and fish flying or swimming up and down respectively. the ocean constantly ticks back and forth. When either animal collides with the water they transform into the other.

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Eons:

Day 1

Day 2

Day 3

Day 4

2021
embroidery on towels.

        These panoramic landscapes depict the four eons of earth on the rims of towels in embroidery thread. They were switched out routinely in descending order each only being present for around 24 hours through the exhibit.

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Castle of Ash:

2021
carbon, hydrogen, nitrogen, oxygen, sulfur and phosphorus in sand.

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Casket:

2021
ASCII, UTF-8 poems.

        A total of 10 concrete poems would each appear randomly on the homepage of the exhibition website, linked below and at the top of the page.

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Castle of Ash:

2021
pixel art QR code on health check wristbands.

        The code links to the press release and exhibition website. I had to send in a project proposal and commit to coming to campus each morning before they opened for the day in order to attach the stickers to the new color wristband of the day.

        A six legged robot painted in a gritty ceramic texture carrying a deep red candle on its back that when burned leaves drips in its tray and on the ground.

detail of work.

The candle and the batteries inside the robot will both die at the same time, in theory. Leaving a trail of red wax and a sandy empty skeleton.

Still view.

        Black embroidery thread creates an image of a bird on a branch in front of flames on a "Little Trees," brand car air freshener in the scent of "hot."

It smells strongly of cinamon and pine.

        UTF-8 is the most up to date version of Unicode which is an international organization responsible for making sure charicters are encoded properly across device.

With concrete poetry I create work around the experiential and existential moments of languige, existence, and endings. The works exist using the same charicters the internet is written in and is intimately connected to the online space.

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Only as far, too fast:

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⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕  10/ 17

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⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕⎕  14/ 17

2021
UTF-8 Poem.

        This project was a series of poems of butterflies created using a range of UTF-8 charicters, 2580-259F, and was distributed in the form of Instagram comments.

        Individuals were asked if they wanted a butterfly through the instagram story function and those who responded would get a comment on a previous post with the handmade poem. Like other UTF projects I've done in the past the butterflies embody the text space of a platform devoted to image making both resisting the facade of Instagram as a platform and appreciating the fragility of the caption space.

A total of 17 poems were created, the words "Only as far,[...] too fast" framing each one.

        This work was a digital installation displayed on the entrance page of the Art Center student portal. This was done over the pandemic at a time when all classes were online. This work acted as an interuption of the digital space and an acknowledgement that virtual learning is different than in person learning, in the same way in person learning is different from online learning.

One is not better than the other but both are not alike eachother.

        Exhibited at the "Your Gaze Makes Me," show at the Kylin Gallery from March 14th - April 11th 2020. Curated by by Art Center Fine Art’s Antoinette Adams Alumni Resident Pui Tiffany Chow.

Installation view

        This series of works was created using the artist's blood to stain a discrete rorschach tests on the center portion of three bandaids. They were then displayed attached by their own adhesive.

work two of series.

work three of series.

        A 25ft long theatrical representation of a downed powerline presented symbolicaly on raised wooden blocks.

detail of work.

The blocks positioned the work like a wake and the powerline as the subject being morned. But the still "connected," to the walls of the space giving it a feeling of still having live current flowing through.

        The artwork, ____ = ____, is a calculator that translates the users age into the timespan of another living thing, inanimate object, or duration.

Some things on the list include a dog, a cat, a bear, a melting bag of ice, the sun, Coachella, a candle, a pigeon, iPhone hardware, iPhone software, a hurricane, and many many more there is also a location at the end where participates can request something to be present on the list.

You can visit the site through the Qr code or through this link which also leads to the live website.

        A series of seven of the exact same greeting card with two penguins at the top of a sea of holographic glittery snow. The words "every year it just gets more and more obvious," as a dark ink blotch engulfs the inside.

        Complete Separation stands 13ft tall and 8ft long and is a theatrical, non-functional, representation of a guillating with a discarded sapling presented up for execution.

detail of work.

The work was presented in the Sculpture Garden on Art Center's Hillside campus. It stands as a translation of the political execution of the environment. The sapling is being executed in this public space by a guillatine made of the same wood.

Installation view