Following the loss of several family members in quick succession, San Francisco-based artist Gabriela Silva Myers-Lipton finds solace in her own contemplations on death. She has come to believe that death is a form of organic symmetry: a return to the state (the source) from which we came. Myers-Lipton calls back to The Symmetry Argument, posited by 3rd Century BC philosopher Epicurus, which reminds us that our attitudes towards birth and death should be identical. Just as we do not fear the mysterious state that existed prior to our birth, we should not fear the mysterious state that will exist after our death. She employs pixels as a metaphor for atoms, the fundamental building blocks that all matter is made up of. The void becomes a central theme in her work, serving as an unknown place (beyond earth) that is disconnected from religious connotations. 
 
Myers-Lipton's work begins digitally, then is transferred to canvas or paper, and creatively drawn by hand. In the past several years, she has dedicated herself to this process, experimenting with the contrast between materiality and technology. Her latest pieces examine death as an unstoppable transfer of energy, and a deconstruction of the atoms (pixels) that make up the human body. Myers-Lipton’s art ultimately seeks to dismantle the conventional understanding of death as a terrifying state, and transform it into a vibrant, safe realm, reshaping societal perceptions of mortality. This latest work has been recognized by the de Young Museum, where her piece, "Coming Undone" has been selected to be a part of the de Young Open 2023.