Claire Silver Remembers Everything

And Helps us Do the Same (an Essay in III Parts)

Part I: Old Memories

I remember my childhood as orange. Or blue. And I best remember autumn: crisp air and the smell of leaf mold, baking spices, bakery-scented candles. Also, eating winter snow whilst waiting at the bus stop. Tulip planters on the porch in May. Or perhaps they were peonies. Petunias? It’s hard to know exactly. Because while I’m able to conjure up, with remarkable recency, the color, the atmosphere, and the feeling of a remembered place or time, I can hardly recall its specifics: exact words out of mouths, what someone was wearing, etc. I lack for details, but the mood of the memory still spilleth over.

Elysium Fields (2020), by Claire Silver. Digital. AI. Unminted
Still from the fisher king (2021), by Claire Silver. Minted upon request for Cozomo de’ Medici
c l a i r e (2022), by Claire Silver, in collection of Batsoupyum

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Well done! Quite a piece right? So, tell me: What do you remember about the piece? Does the figure have a face? If so, what features are prevalent? Did you pick up on eye color? What are they wearing? Shoes? Stockings? Leg warmers? Where does this image take place, if anywhere? Anyone else in it? What is happening in the background?

Part II: New Memories

Irony is so often the thing with Claire Silver. Like her interest in probing humanity, for example, which she does using technology few humans can even comprehend. Or how her insistence on anonymity resulted in her pink-haired avatar becoming one of the most recognizable faces in all of crypto art. AI artwork is itself ironic: The human has all the artistic urge, insight, and direction, and yet they do not themselves place even a single pixel down on the page.​​

Pieces (2022), by Claire Silver. Currently unowned (somehow)
Page 173 (2022), by Claire Silver, in collection of Studio137
Page 174 (2022), by Claire Silver, in collection of mjdata

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Just like before, think critically about what you remember.

  1. Centralize artifice
  2. Remain much more complete in our memory than their abstract brethren
  3. Prioritize visual idiosyncrasy over emotional heft.
Page 282 (2022), by Claire Silver, in collection of 365968

Part III: False Memories

“To start very generally: Camp is a certain mode of aestheticism. It is one way of seeing the world as an aesthetic phenomenon. That way, the way of Camp, is not in terms of beauty, but in terms of the degree of artifice, of stylization.”

Intercultural communication (2021), by Claire Silver, in collection of Reneil1337



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