Joey Serricchio

Multidisciplinary artist living and working in Los Angeles, CA.

About me

Softly, 2024 | full video
wire, air-dry clay, thermal paint.

Garden, 2023 | full video
C++ program on a nokia phone.

In Feeling, 2023
cardboard underwear packaging, plastic spider.

Storm, 2023 | full video
oled screen, keychain, wrist band, key.

The scorpion walks around digging holes as the winds continually blow the holes away.

A thousand legs, 2023 | full video
wood, wire, clay, padlock, paint, toy robot, batteries.

Brace, 2023
yarn, sand.

A crocheted 50lb/22.6kg sandbag filled with sand.

Born To Kill, 2022 | full video
Fishing lure hooks, glass eyes, paint, batteries, robotics, rocks, fish bowl, water.

 Pasture, 2022 | full video
C++ Program on a LCD display in a frame.

Teeth that shred my shedding tongue, 2022 | full video
flip phone, foam, wire, gel paint, servomotor, LED, microcontroller, motion sensor.

luxury, 2022
vinyl print of mars.

Toxicant, 2022
sponges, rope.

My Own Dying Sun, 2022 | full video
candle, fire, batteries, paint, toy robot, plastic lid.

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.

.window, 2020–2021

Temparary digital installation on ArtCenter’s student portal,, during 2020 (pictured left) and at the Kylin Gallery’s website,, (pictured right) in 2021.

Hot, 2021
embroidered car air freshener.

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.

Full of Myself, 2020
plastic, bacteria, agre.

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.

live wire, 2020
wood, metal, electrical chord, paper, reflectors.

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

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.

More Than I Could Know, 2020
blood on bandage.

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.

In Passing, 2020
various materials.

This series of work follows the artists reflection on the death of their grandmother. The grief led to a deeper connection with the artists mother who’s social security card joins his in the pieces. the milk carton is made of Joey’s mothers catscans after a lifethreatening accident at the beggining of his life. The cliché form of a rorschach test act as both a stain of grief and a void embodying the unknown of the future.

Every Year, 2020
ink on card.

A perpetual series of the exact same discontinued greeting card with two penguins at the top of a sea of holographic glittery snow with the words "every year it just gets more and more obvious," on the outside and dark ink all over the inside.

Talk Gay, 2019 | full video
cast plastic tongue, steel chain, steel pipe, dodge ball, wood board.

A self portrait of the artist. The interactive piece contains a metal chain attached to a bright pink tongue cast. When pulled the chain rattles in the pipe below the yellow dodge ball, when released the chain clanks down as it puckers the slit in the foam head.

Complete Separation, 2019
wood, tree.

The work was presented in the Sculpture Garden on Art Center's Hillside campus.

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

Wander, 2018
wood, railroad spike.

    /̲_)   ,^̲_̀_      (\
  /̲__)  ( ̲̅ ̲̅_) \   (””)̡
( (/      \|__/   (“/̧ |
 \|          ‘           v̛_/

DOOM, 2021  | full exhibition
Solo Exhibition.

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.

Pangea, 2021  | full exhibition
Solo Exhibition.

The exhibition spanned 3 locations, a gallery space, a flagpole, and an online website. The works revolved around signals and communication, the ways signals change over time, and how they hybridize and merge to make new connections.

The exhibition was presented at ArtCenter's south campus and 870 building.

Thank you for looking through my work, if you’re interested in contacting me feel free to reach out through email to:


Contact @joeyfolio

Artwork Filters 

All | Sculpture Poems 2D Solo Exhibitions