A Critique of Hunters and Warriors The painting Hunters and Warriors from Camille Rose Garcia's 'Snow White and the Black Lagoon' series is a colorful interpretation of the Snow White story, full of curves guiding the viewer's eye. Painted with acrylic, glitter and gold leaf on a 6' by 10' wood panel, this large scale artwork is packed with detail, taking advantage of the painting surface by letting the wood grain add texture through her paint. People, apples, hearts and animals all flow together almost seamlessly with their environment, but the work isn't completely chaotic; its color gradient from reds to blues unifies the artwork into different regions, keeping the viewer from becoming overwhelmed. Put on exhibition in 2011, 'Snow White and the Black Lagoon' is another series in a long history of Garcia's fairy tale inspired exhibitions. However, the painting has a more modern meaning behind it than the viewer might
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Born in 1970, she grew up a short distance from Disneyland, and to her the homes surrounding the 'happiest place on Earth' were some of the saddest places on Earth: "Everyone that I knew was a total fucked-up drug addict, going nowhere, depressed, with this perfect veneer of suburbia" (Garcia). She grew up with that juxtaposition in her life, so it's no surprise that she would use paired opposites to express her ideas in art. For most people Snow White is no longer a Grimm's fairy tale, but a Disney one; now, the story is all about 'happily ever after'. Garcia takes that association modern audiences have with the story to use it in an implication that we might not have a happy ending, and that we are the destroyers of that potential happy ending. Psychedelic colors partnered with blackened, oily environments, and creepy characters drawn in an old-Disney inspired style that normally inspires happy nostalgia, make this painting one juxtaposition piled onto another, and onto another
Born in 1970, she grew up a short distance from Disneyland, and to her the homes surrounding the 'happiest place on Earth' were some of the saddest places on Earth: "Everyone that I knew was a total fucked-up drug addict, going nowhere, depressed, with this perfect veneer of suburbia" (Garcia). She grew up with that juxtaposition in her life, so it's no surprise that she would use paired opposites to express her ideas in art. For most people Snow White is no longer a Grimm's fairy tale, but a Disney one; now, the story is all about 'happily ever after'. Garcia takes that association modern audiences have with the story to use it in an implication that we might not have a happy ending, and that we are the destroyers of that potential happy ending. Psychedelic colors partnered with blackened, oily environments, and creepy characters drawn in an old-Disney inspired style that normally inspires happy nostalgia, make this painting one juxtaposition piled onto another, and onto another