A strange, monstrous-looking machine that looks like the rusting cab of a classic truck, mounted on two mechanical legs. Running center down the front of the cab is a line that divides the windshield and ends in a sharp nose. On either side of the cab are two curled, pointed fins that strongly suggest ears. The machine has one visible robot arm with clawed fingers. While the machine is primarily a rusty brown color, it has orange- and purple-tinged areas, with green spots on the rear side. Its legs are also purple, with blue spots and several spikes. It is wandering through a bluish-purple meadow under a bright green sky with a blazing white sun. The painting is signed "Chris Silverman".

A strange, monstrous-looking machine that looks like the rusting cab of a classic truck, mounted on two mechanical legs. Running center down the front of the cab is a line that divides the windshield and ends in a sharp nose. On either side of the cab are two curled, pointed fins that strongly suggest ears. The machine has one visible robot arm with clawed fingers. While the machine is primarily a rusty brown color, it has orange- and purple-tinged areas, with green spots on the rear side. Its legs are also purple, with blue spots and several spikes. It is wandering through a bluish-purple meadow under a bright green sky with a blazing white sun. The painting is signed "Chris Silverman".

A green, goblinesque figure wearing a black baseball cap backwards, an indigo jacket with gold stars on the back, a pair of garish red-orange pants, and black boots with a purple lightning bolt on one. The figure has long pointed ears, a long, pointed nose, a long, pointed face, and long, pointed teeth. It is gesturing creepily with its hands the way a monster in a horror film might do. Its eyes are partly covered by the baseball cap. The painting is signed "Chris Silverman".

A green, goblinesque figure wearing a black baseball cap backwards, an indigo jacket with gold stars on the back, a pair of garish red-orange pants, and black boots with a purple lightning bolt on one. The figure has long pointed ears, a long, pointed nose, a long, pointed face, and long, pointed teeth. It is gesturing creepily with its hands the way a monster in a horror film might do. Its eyes are partly covered by the baseball cap. The painting is signed "Chris Silverman".

A harsh, blocky building on a hill by the sea. The sky is the slate blue of a cloudy winter evening. The building is surrounded by snow and rust-covered, with few niceties: a terrace, several small windows, and a door with a concrete porch. To the right of the door is a single-car garage with a light over it. Another light on the side wall of the garage casts a greenish light over the snow. On the roof of the building are a few antennae with red lights and a large radio dish. The overall effect is that of a Soviet-style official building—perhaps a remote radio station—so the weirdest touch is the large, glowing, green-white sign on top of the building that reads "DINER". The sign has a pink neon underline beneath it. This building could not look less like a diner, but many things are rarely as they immediately seem. The painting is signed "Chris Silverman".

A harsh, blocky building on a hill by the sea. The sky is the slate blue of a cloudy winter evening. The building is surrounded by snow and rust-covered, with few niceties: a terrace, several small windows, and a door with a concrete porch. To the right of the door is a single-car garage with a light over it. Another light on the side wall of the garage casts a greenish light over the snow. On the roof of the building are a few antennae with red lights and a large radio dish. The overall effect is that of a Soviet-style official building—perhaps a remote radio station—so the weirdest touch is the large, glowing, green-white sign on top of the building that reads "DINER". The sign has a pink neon underline beneath it. This building could not look less like a diner, but many things are rarely as they immediately seem. The painting is signed "Chris Silverman".

A snowy landscape; a colorless world of different grays. Footprints in the snow lead towards a small cabin in the immediate distance. The roof of the cabin is covered with thick snow. Smoke is coming out of the cabin's chimney. The cabin is surrounded by woods. A very dim, foggy treeline is visible behind the cabin. The painting is signed "Chris Silverman".

A snowy landscape; a colorless world of different grays. Footprints in the snow lead towards a small cabin in the immediate distance. The roof of the cabin is covered with thick snow. Smoke is coming out of the cabin's chimney. The cabin is surrounded by woods. A very dim, foggy treeline is visible behind the cabin. The painting is signed "Chris Silverman".

A pixelated icon of a small computer: an all-in-one model with both a screen and a disk drive. The screen has a smiling face on it. This, of course, is Susan Kare's Happy Mac: the first thing you'd see after turning on your Mac in the 80s or 90s (well, second thing, if your machine didn't have a hard drive). The icon is white pixels on a black background. The pixels glow with a neon blaze of rainbow colors: the six colors of the classic Apple logo. The painting is signed "Chris Silverman". Thanks for everything, Mac team.

A pixelated icon of a small computer: an all-in-one model with both a screen and a disk drive. The screen has a smiling face on it. This, of course, is Susan Kare's Happy Mac: the first thing you'd see after turning on your Mac in the 80s or 90s (well, second thing, if your machine didn't have a hard drive). The icon is white pixels on a black background. The pixels glow with a neon blaze of rainbow colors: the six colors of the classic Apple logo. The painting is signed "Chris Silverman". Thanks for everything, Mac team.

An elevator—at least, a small building whose front is entirely taken up with two silvery elevator doors—sits in the middle of a dusty yellow desert. The doors dimly reflect the orange-brown desert floor. On the right side of the doors are two round buttons. The top one is lit. Above the doors are the red LCD numerals of a floor indicator, showing "19". A blurry white sun sits in the yellow sky. Perched on the top left of the elevator are several small birds, one in mid-landing. The painting is signed "Chris Silverman".

An elevator—at least, a small building whose front is entirely taken up with two silvery elevator doors—sits in the middle of a dusty yellow desert. The doors dimly reflect the orange-brown desert floor. On the right side of the doors are two round buttons. The top one is lit. Above the doors are the red LCD numerals of a floor indicator, showing "19". A blurry white sun sits in the yellow sky. Perched on the top left of the elevator are several small birds, one in mid-landing. The painting is signed "Chris Silverman".