Upon graduating, she moved to New York City, where she spent two years inhabiting and photographing the uniquely themed rooms of the Carlton Arms Hotel.

New York Hotel Story introduces many of the themes she grapples with in subsequent works, including identity, gender, sexuality, time and memory, and escapism.

She aims to portrait the Mongolian nomadic families who are forced to abandon completely their way of life and move to the capital due to the effects of global warming and modernisation.

These local tribes from the steppe have wiped out their livestock in the last increasingly severe winters, and are now settling into the Ger district, a "tent city" made of Yurts in Ulaanbaatar.

Photographed using lenticular technology – a technique that imparts the illusion of movement – the women seem to dance, vamp and primp in front of our eyes, caught in a perpetual loop of seduction and solicitation.

The Nicacio is both a place of the quick, downmarket sex trade and a space decorated by artists; the girls who work there have also founded a fashion label, Daspu, to fund workers benefits for prostitutes.

As a female photographer Daoust disrupts the exchange between subject and traditional viewer, allowing these women to exist not as passive objects of the male gaze but as active participants in the creation of their gendered identity.

Frozen in Time, Switzerland Set in an ambiguous territory where dream and reality clash, this series of hand painted black and white pinhole images juxtaposes the idyllic scenery of the Swiss Alps with stiff female bodies, their figures as haphazardly positioned as discarded dolls.

This work takes the viewer beyond taboos, unveiling a universal human desire to escape reality, creating alternate worlds that oscillate between fantasy, truth and perversion.

Shot on old Chinese film, the negatives were physically manipulated in the darkroom then sealed in amber-like resin to create an insubstantial world of illusion.

[7] Photographed individually in a darkened room, Daoust completely strips the scene of external signifiers, spotlighting women who have, according to the artist, “remained in shadows.” These lyrical, aborted tableaux personify the feelings of otherness and otherworldliness that run through her work.

[8] She has spent much of her career exploring the chimeric world of fantasy: the hidden desires and urges that compel people to dream, to dress up, to move beyond the bounds of convention and to escape from reality.