AVAILABLE WORK

For more information on a particular piece jeremy@jeremycorbell.com

WRESTLER

36 in x 24 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

DREAM

24 in x 36 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

ANGEL

36 in x 24 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

FEVER

24 in x 36 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

JONES

36 in x 24 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

MOON

36 in x 24 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

THEORY

24 in x 36 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

VANISH

24 in x 36 in x 1.5 in

MATERIALS: Canvas, acrylic, ink, watercolor, U.S. currency, resin, newspaper and photography.

VANE

60 in x 48 in x 1 in

MATERIALS: Photography, plexiglas and acrylic paint.

ASHTON

60 in x 48 in x 1 in

MATERIALS: Photography, plexiglas and acrylic paint.

GENEVIEVE

60 in x 48 in x 1 in

MATERIALS: Photography, plexiglas and acrylic paint.

JOLIEBA

60 in x 48 in x 1 in

MATERIALS: Photography, plexiglas and acrylic paint.

NANA

60 in x 48 in x 1 in

MATERIALS: Photography, plexiglas and acrylic paint.

NATALIE

60 in x 48 in x 1 in

MATERIALS: Photography, plexiglas and acrylic paint.

SHAH

60 in x 48 in x 1 in

MATERIALS: Photography, durotrans and acrylic paint.

LARENA

60 in x 48 in x 1 in

MATERIALS: Photography, durotrans and acrylic paint.

POLAROIDS

48 in x 60 in x 1 in

MATERIALS: Photography, durotrans and acrylic paint.

ANGEL KILLER

60 in x 156 in x 1.5in

MATERIALS: Acrylic on canvas.

PARADOX

75 in x 36 in x1.5 in

MATERIALS: 1920's window, resin and photography.

ADVANCED CONSTRUCTION

44 in x 51 in x 5 in

MATERIALS: Wood, rope, paint, 1920's window, resin, photography, steel, iron and light.

DESCRIPTION: The photographic image is of the artist’s subject holding herself and covered with oil. The photograph was set within the four sections of the window and secured with resin. The window and photograph was backlit with red light and mounted on a wood. The wood was painted black and a rope was tied around the window frame. A construction sign was dismantled and used to frame the piece.

PRAYER

36 in x 28.5 in x 2 in

MATERIALS: Newspaper, artist's blood, 1920's window, resin, photography, a preserved leaf, string, iron and light.

DESCRIPTION: This piece began as a repetitive meditation in the form of free association. The artist took a copy of the Los Angeles times and began cutting out words or phrases that caught his attention in relation to the photographic image used within the piece. The photograph was taken at the train station in Downtown Los Angeles and is of a homeless woman. The image was divided into 21 sections, laid on top of the window and set with resin. The artist organized and layered the newspaper clippings along the frame of the window. He smeared a layer of his blood over the clippings and frame, which was then made to crackle. Rusted iron (salvaged from a secret 1930’s Nazi training camp located at the bottom of a local canyon) was attached. A leaf was cured, wrapped with string and attached. Light was added to accent the negative space between the photographic sections.

MORE DETAIL

THE CURE

17.5 in x 20.5 in x 1 in

MATERIALS: Antique mirror, ink, U.S. currency, artist's blood and resin.

INSPIRATION

32.5 in x 28 in x 1.5 in

MATERIALS: Antique mirror, ink, resin and photography.

SEDUCTION OF TIME

28 in x 54 in x 2 in

MATERIALS: 1920's window, resin and photography.

WHAT WE THINK

30.5 in x 24 in x 2 in

MATERIALS: 1920's window, resin, photography, gold flake, paint.

DESCRIPTION: The photograph was taken in the northern mountains of India, in a town called Rishikesh. The image was divided into 12 sections, laid on top of the window. Gold flake was pressed along the center divide of the image and inscribed with the mantra, "We are what we think • all that we are arises with our thoughts • and with our thoughts we make the world". The sections were set with resin.

DEATH TO LIFE

30.5 in x 24 in x 2 in

MATERIALS: 1920's window, resin, photography, gold flake, paint.

DESCRIPTION: The photograph was taken in the northern mountains of India, in a town called Rishikesh. The image was divided into 12 sections, laid on top of the window. Gold flake was pressed along the center divide of the image and inscribed with the mantra, "Take me from untruth to truth • darkness to light • death to life". The sections were set with resin.

LOVE IS MORE

41.5 in x 48.5 in x 14 in

MATERIALS: Shipping pallet, wire, paint, ink, artist's blood, resin, photography, a bedsheet and light.

DESCRIPTION: This piece began as a repetitive meditation in the form of writing the words “Love is not what you think” on top of a shipping pallet. Within the writing there is one line that reads, “love is more, love is more”…this section is written in the artist’s blood. An “X” was smeared over the written words with black ink. Resin was set atop the wood to seal in the words. The photographic image, mounted on wood panels, was set within the crate as to be viewed through the slats. The sepia tone image is of the artist’s subject in lace underwear and a hat reclining on a bed. A bed sheet was set in resin and fastened to the back of the piece in order to enclose it. Wire was mounted on the front as a way to make the close viewing of the photographic image somewhat dangerous. Amber light was added to illuminate the photograph, invoking a cautionary approach to the piece.

FABRICATED

56 in x 50 in x 17 in

MATERIALS: A trunk, wood beams, monitor, audio/video content, a preserved leaf, string, steel, iron and light.

DESCRIPTION: Four wood beams were brought together to create a standing base. An old trunk top was secured to the frame. A steel panel was set behind one exposed side of the trunk, and a partially disassembled computer and monitor was set in the other. The monitor displays a continuous loop of a stem cell produced heart fiber. The fiber spontaneously pulses as a heart muscle would. The sound of a heartbeat was placed over the image. Rusted iron was attached. A leaf was cured, wrapped with string and attached. Red light was added to accent the technological mechanism of the monitor and the space within the trunk.

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