Plaisir’s work examines the concept of social domination, which has existed from the time of slavery until now. The common thread throughout her work is a critique of prejudice, according to which political power is supposedly “a natural fact.” Through her art, she declares that power is not a “natural fact” but, rather, a political one that emerges under specific conditions within specific socio-cultural and historical contexts. She engages in the deconstruction of those conditions and, in turn, in the reconstruction of a world in which no one “dominates” or “reigns”; instead, everyone moves freely between reality and imagination.
In this regards the artworks proposed for the show become instruments of translation. Where culture as a dynamic and complex process involves differences and collisions and a constant need for negotiation processes between races, gender, ideologies, systems of belief and culture at large.
In this sense, Plaisir art proposal becomes instrumental, as a metaphor, and the reshaping of translation as the paradigm of mediation. Not only among crossed-cultural symbol systems, from one language to another but also from one culture to another.
This flexibility of visual expression allows the crossing of boundaries between home and migration; race and color; day and night; life and death; waking and sleeping; lucidity and dreaming; reason and imagination. This Surrealist-like approach allows her to tap into the unconscious, where she can live without constraints in the practice of strange “rituals” beyond the walls of the conscious world.
Plaisir’s visual narrative then becomes a multifaceted and interdisciplinary act of translating, manifested in a multitude of synonyms, symbols and codes in direct relationship between art and the imagined translation due to socio-cultural theories, reflecting the artists own interpretation of historical, cultural and social facts that have turned the Caribbean, into one of the most complex territories of crossed cultural experiences.