In many ways, despite a lot of artists also being streamers/YouTubers, Camila is one of the more prominent ones, combining a diaristic sense of video with her impeccable artistic technique, helping her followers to reach the same level of execution with her tutorial videos.

Often using herself as a subject, the artist manages to chart her life as a part of a generation who face a different world than those who came before. At first, there’s the older generations whose relationship with technology is limited to what their children and grandchildren teach them. The general below them most likely has a phone and some social media presence. Then there was the generation - often born in the early 90s - who knew life before the digital revolution, but barely.

Then, there’s Camila’s generation, whose world is ‘always on’. There’s no logging out of MSN messenger late at night, conversation set against the backdrop of a glowing computer screen and a machine that sounded as if it was about to take-off. Now, everything is handheld, everything is visible. Privacy is a concept that is as good as gone.

Rather than revolting against this, as many choose to, Camila has embraced it, showing her virtuosic painting ability with self as subject. It’s almost a semi-ironic play on the selfie. In other works, there’s composite moments of her laying around her bedroom in various states of boredom, a relatable depiction of the coronavirus-induced quaratines of 2020, whilst also tinged with the irony of a generation who are less used to hanging around outdoors.

Other scenes are classrooms, supermarkets, very much ‘slice of life’ art. Some are more abstract, expressing emotion at an age when she is likely to still be getting her head around it all - symbolising the difficulties many might have in a world of accelerated maturation. In a feed punctuated with pop culture references - from video games to film and pop-stars - the whole thing has the quality of being overwhelmingly honest and raw.

Timelines themselves have become de facto gallery spaces for artists and, in becoming so, have gotten so curated that we don’t understand the person at all. That way, it feels slightly disingenuous, like you’re there just to hand in your likes and shares and, if you can afford it, your custom. It can be transactional. Camila does commissions, such as family portraits, but when she shines the light onto her own life that the depth of thoughtfulness in her work is most striking, particularly given that most come with tutorials.

In a piece she has titled’ as ‘media overconsumption’, we see a painting of her doing a painting. It’s a meta look at contemporary life. Three computer screens cast a glow over her desk, with a Nintendo Switch and phone both displaying signs of life. In this melange of blue-light, there’s a truth in there. We’re not in control of the era we were born into. Whether we like it or not, we’re alive at this very moment and that is the live we lead.

Containing such a reflective and satirical undertone - utilising herself as the subject - points to a strong future for a young artist whose own audience is bound to contain multiple budding artists, more content with self-portraits than selfies. Whilst we might dwell on the negative structures that media and social media consumption has introduced to our lives, of which there are many, Camila highlights its strengths too.

Community. Education. Knowledge. Learning. Sharing. These platforms, if used correctly, can help forge a connection both with other like-minded people, but also within yourself. Never have we had such ease of access to such insurmountable knowledge at our fingertips. If you’re like Camila, you can choose to harness this power in a productive and meaningful way. That is the true glory of her work. Not just what it is, but the possibilities it helps to usher in for a future generation of artists, whose world is entirely unlike that which has come before.