Fairytale Princess Mugshots Are Both Alarming And Totally Awesome

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Normally, fairytale princess characters are the epitome of chastity and innocence. With her series on folk stories, the Spain-based illustrator Marilen Adrover turns the concept of feminine modesty and purity on its head, presenting the gruesome mugshots of legendary heroines. Far from her days of resting piteously in a glass coffin, Snow White, an icon of the selfless domesticity of any ideal wife or helpmate, is arrested for sexual misconduct. Little Red Riding Hood, blood smeared across her once naive rosy cheeks, is taken in on murder charges. Poor, young Goldilocks, no longer a helpless child in search of shelter, has lived a life of crime, and she is reprimanded for breaking and entering. Lewis Carroll’s sweet Alice has grown disillusioned with the real world, turning to her own dangerous wonderland of psychotropic drugs.

By placing these icons of feminine docility and martyrdom in the context of contemporary crime, Adrover cleverly subverts the traditional madonna-whore dichotomy that persists narratives about young women. Like an angst-ridden teen, each vixen stares at her captives teasingly, hoping to challenge their authority. They are no longer defined by their histories of idyllic pastoral innocence, but they certainly cannot be pegged solely as unruly miscreants. Both beloved and dangerous, they refuse to conform to a single fantasy, playing with our culture’s deeply ingrained prejudices and assumptions.

In another ambitious series, Adrover explores the painful pressures facing the bodies of women, presenting evocative portraits of eating disorders and plastic surgery. Her imagined manifestation of anorexia is a bloody red orb, shining outwards from the belly of a woman. In her vision of orthorexia, the orb is blue. Each image, evocative of watercolor painting, subtly explores the persistent emotional traumas and obsessions that burden the human spirit. Take a look. (via Lost at E Minor)

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Delightfully Morbid Still Lifes Feature Disney Princesses And My Little Pony

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The surrealist artist Cristina Burns creates tiny, magical worlds made of skulls, toys, and delightfully kitschy knickknacks; her series Through the Mirror appeals to the subconscious mind, inviting viewers to engage with seemingly disparate materials that together form a strangely cohesive narrative. Inspired in part by the Oniric movement, the bizarre and delightfully pink work allows viewers to make surprising associations within carefully constructed scenes; the familiar and the frightful work in tandem, frantically blurring the lines between fantasy and reality.

Burns’s images, imbued with the innocent connotations of budding flowers, baby deer figurines, and Victorian lace, introduce comically dark elements: a round eyeball, brains served on a platter with a fork. Together, the delightful and the dangerous work to create arrangements that might be viewed as manic and surreal altars to the dead. In one elegant image, a skeleton attracts the attentions of a large beetle, an insect often symbolic of decay, with the presence of budding funereal flowers and sweets.

The meticulous symmetry of Burns’s compositions heightens the idea of supernatural harmony between purity and sin, between life and death. Much of the work centers around a symbol of man and especially womankind’s fallenness: Eve or Snow White’s skull bites an apple, or a mermaid figurine peers woefully at a deteriorating skull at her feet. In this state of death and corruption, there exists too a powerful sense of play, as seen through delicate china mice, candy hearts, and Disney princess dolls. In this way, Burns’s imaginative and feminine dreamscapes capture the allure of mischief, for in our disobedience and fallenness lies a magical sort of madness and celebration.

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