Since 2011, PLAISIR's work interrogates the concept of domination and prejudice, 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 supposedly is “a natural fact”.


Therefore, she declares that power is a political fact rather than a natural fact, which only emerges in specific conditions and in specific socio-cultural and historical contexts. In order to support her thematic,  She employs a wide range of data : animal communities, archaic forms of political power within so-called “Primitive” communities, the power of the king during the slavery period, innovation through modern Labor movements, and the historical emancipation of the Bourgeoisie in the Caribbean islands, of which she's a native.

 

Critical of the current “social atmosphere”,  she  defines domination and discrimination as playing a primary role in the reproduction of dominating social relationships, which sits at the very heart of globalization. 

She incorporates  what Pierre Bourdieu (a French philosopher) calls ‘symbolic violence’, which consists of forcing the acceptance by an entire community of any act of power as legitimate. Her work takes a path of imagery and poetics inspired by the tapestries of XVI and XVII century French Bourgeoisie, and the period when Louis XIV organized a long succession of “Pleasures” in his gardens at Versailles.

 

In this way, she 'performs' with her body and character of clothing convention as an evidence of the reversibility of identity or social classes, protesting against domination,  politic power and discrimination.

 

She uses textile, fibers, fabrics are socially meaningful, just as the cutting is functionally significant. Both dimensions of pomp and dress, are determined all at once by the status of the individual who wears it, as well as by one’s occupation in society. Or conversely, those two dimensions determine the status of the individual as well as one’s occupation in society.

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Plaisir lays her installations in various spaces (lavomatic, forests, streets,  cathedrals) without agreements with the idea that people will undoubtedly come to realize that what it does not sees is greater than what it sees.