For twenty-five years, Salmon has photographed Carnival not as spectacle, but as a sustained cultural practice across the diaspora, tracing the relationship between Carnival in Toronto and Trinidad. The work centres those who build, inhabit, and carry the form across generations. Rather than locating Carnival solely within the rupture of the Transatlantic Slave Trade, these images attend to deeper continuities—presences, gestures, and modes of being that persist across time and place. Play Mas holds Carnival as living and lived culture: not only performed, but embodied, remembered, and continually re-formed.