Page 23 - WOWwART

Cecile Plaisance masterfully fuses playfulness with profound feminist statements, delivering bold, provocative art that champions women’s empowerment.
cally.
How did your background in economics and finan- ce influence your artistic journey, if at all?
My economic and financial background has not influenced my work as a photographer. On the other hand, even as a little girl, I collected magazine photos/images that I found beautiful. Mostly photos of women. I like to transcend the beauty of women, I’m fascinated by beauty.
When I left the world of finance, I moved on completely, not knowing where this new adven- ture would take me. And here I am!
What drove you to transition from photograp- hing travel scenes and objects to focusing on Barbie dolls as subjects?
as they please, to wear make-up and lingerie...
in short, to feel beautiful, should not be seen as
a provocation to men. These are rights we have acquired, and we are free to use them or not. That’s why my Barbie, with her ultra-feminine shape, allows me to deliver an even stronger message. I don’t accept that laws dictated by men, particularly religious laws, should prevent our freedom of movement. My photos, like those of Femen, are indeed provocative. But the more provocative they are, the more my message gets out. Long live freedom for women.
Can you expand on the decision to undress Bar- bies in your work, and how it connects to broader statements about female autonomy?
As mentioned, the more provocative I am
in my work, the more my message gets out. I undress my Barbies or Mannequins, to show that in a free world, the Woman (the Barbie) has the right to choose whether she wants to show her body or not. In the 21st century, the religious laws in force in certain countries hinder women’s freedom, making them invisible, submissive, and dependent. This is no longer acceptable.
How has your process evolved now that you’re working with human models, and how does it differ from working with Barbies?
I’ve always had a camera at hand, espe- cially since the birth of my children,
whom I’ve obviously bombarded with photos! We’ve been
lucky enough to travel a lot as a family, so I have
Because who could be more feminist than Helmut Newton and his femmes fatales! And what consumer object could be more reviled than the Barbie....
I’m a feminist who asks women to play with everything that’s possible in femininity.
How do you balance the playful and provocative aspects of your Barbie images while conveying deeper messages about femininity and women’s rights?
What I just told you... Although the battle for gender equality is far from over, women must not abandon their femininity. The right to dress
photo reports of all our adventures.
When I went to photography
school in 2008, we had to hold
regular exhi- bitions with set themes.
It’s still the same work with the same idea, that of defending women’s freedom. The difference is that now, the models I work with fully support my project. The exchange is always fruitful and collaborative. Some women go even further than I do. I’m thinking of Marisa Papen, with whom I’ve worked on several series, and who pushes the idea to the point of living naked (as far as that’s possible). I love working with women, the exchange is much more nourishing than with my Barbies!
came of it. That’s when the Barbie came
to the fore... there were lots of them in my house... it was both a nod to my childhood
(I played Barbie a lot) and a hu- morous way of dealing with feminists!
In 3rd and final year, the theme was free. I did a tribute to Helmut New-
ton, my mentor. I
was looking for models
What is the significance of your use of lenticu- lar prints in your work, and how do you think it enhances the viewer’s experience?
I’ve always worked in diptychs. With a before photo and an after photo: dressed / undressed... When I discovered this medium; lenticular, I knew right away that it was my medium. it’s a “car stopper”. It allows me to deliver my messa- ge in a more playful but also more conspicuous way. When people see my work, whether they like it or not, they stop. They move in front of the photo, they try to understand... it’s also a bit reminiscent of our childhood, with double deci- meters or placemats bought in souvenir stores.
Here is one of my famous work: Fuck the Ru- les. It shows a women in Burqa : undressed with a cigarette in her mouth and almost nude with written on her breast: Fuck the Rules. I think it is very explicit.
The second one, with the same model says in French: and God created Woman! It is also a very famous Film with Brigitte Bardot from Director: Roger Vadim in 1956!
who would be willing to stand
in front of my camera, but nothing
WOWWART II 23
P