She is interested in the aging body, gender roles, the fragility of sentient being and the potential outcome of the creation of idealized selves through bio-technology and artificial intelligence.
It has been discussed in the chapter on her work in the book Memory Effects: The Holocaust and the Art of Secondary Witnessing[2] by Dora Apel, and was the subject of an interview with her for a broadcast on BBC radio and ArtonAir.org.
Helmbrechts walk, 1998-2003 was exhibited at Hebrew Union College Museum in New York City[4] from September 2009 to June 2010,[5] and then traveled in an English/German edition to Kunstverein Grafschaft Bentheim in Neuenhaus, Germany in the summer of 2010 and to Kunsthalle Exnergasse in Vienna that fall.
In 2011 this work was included in the exhibition Continuity at the Center for Contemporary Arts, Celje, Slovenia, curated by Irena Cercnik.
The artist's most recent work on the Shoah is a six-channel video installation titled Treblinka Song and The Happy Wanderer.
– G. Roger Denson (excerpted from "On The Resurrection of Dead Birds")A selection from this body of work entitled eyes wide shut,[8] 2010, was exhibited in a solo exhibition at CB1 Gallery[9] in Los Angeles, California from April 9 to May 14, 2011, along with the premiere of the video performance A child of sixties television singing songs that got stuck in her head.
In March 2014, Silas's photo collections love in the ruins; sex over 50 and the self-portrait sessions were exhibited in Bushwick, New York.
As such, these sculptures, photographic portraits and videos straddle the line between digital photography (an indexical component) and post-photography or simulation technology, living in an ambiguous interstitial space.
Interviews with the artist can be found in ADULT magazine, Digital Dying,[24] Museum of Non Visible Art at Yale University Radio, and "Ms.