The story being told in Silver Family is one of a white person leveraging their perceived otherness to manipulate and take advantage of artists of different races, gender identities, and class statuses.
Spanning from 1967 to 1973 beginning in Andy Warhol’s childhood home (3252 Dawson Street in Pittsburgh, mid 1930's) and bleeding quickly into Andy's prime days in The Silver Factory and the surrounding hot spots of New York City, Silver Family invests in multiplicity of perspectives around the distinct process and body of work created by Andy Warhol.
The final installment of the Trash Lord trilogy.
In the midst of doing home renovations, young professional Sophia is faced with a breakup that leaves her with two halves of the rent to pay. She will take in an unlikely roommate for the right price: a hologram of her father used as a "living container" for his memories from years 26-29 of his life.
Sophia's new hologram roommate is convinced he has arrived in her apartment for a short stay to attend a vitally important conference that happened decades ago, unbeknownst to him, but it's not just time that has changed. What follows is an examination of family, faith in the modern era, and the multiplicity of identity in all of us.
This performance work came directly from questions: What was my father like before my birth, before my parents’ divorce? Would my dad and I have been friends if we had met under other circumstances?
How do we lay to rest past versions of ourselves? Is it possible? To see a human manifestation of technology more free and alive than an actual human mired in work awkwardness of self-examination, the boundless possibilities of technology, and the inescapable trauma of being raised by other humans just doing their best in this life.
