By: Petra Chase, Arts & Culture Editor

At the core of his drag queen-“christened” trademark, House of Dumont, Michel Dumont is an “old, queer punk” whose commitment to love is infused into his creative work. Dumont is a “Métis, Two-Spirit, disabled artist” based in Thunder Bay, Ontario. His “wearable art, installation, and mosaic” incorporate elements of goth, camp, the ‛80s, and glam. In an interview with The Peak, Dumont shared some memorable moments thus far in his career, and his experiences navigating his disability in the arts world.

Dumont’s interest in costume crafting began during childhood, inspired by the Halloween costumes his mother, aunts, and grandmother would make by hand. “I had to be incredibly thrifty, working minimum wage, so I was constantly collecting clothes and up-cycling and embellishing with leather patches or painting,” he said.

After developing a sensitivity to multiple chemicals later in his life, Dumont could no longer work with many materials he was used to, such as leather and dye. It was from experimenting with non-toxic materials like “cellophane and packing tape,” combined with his expertise in dressmaking, that he produced his first wearable sculptures to don the runway.

In 2019, Dumont’s runway design at his local Definitely Superior Art Gallery’s 11th annual Derelicte costume contest brought him success. Named the “ice princess dress,” he described his design as an “angry drag queen dress with spikes.” The costume’s aquamarine, soft, iridescent glow juxtaposed with icicle-like spears give off a delicate yet fierce persona. To top it off, the model wore a diamond-shaped crown lit up with a bright blue frame.

A few years later, his wheelchair costume made with fireweed made it into Vogue. What made the design special was that Maggie Sofea, the Indigenous model who wore it, was also the inspiration for the dress. Dumont met her in the drag community, and was inspired by one particular drag show where he and a group of drag queens lifted her to the second floor to see the show. “I wanted to show resiliency of that moment where the community came together to uplift this person who would’ve had an extreme barrier to culture if we all hadn’t pitched in to make it accessible,” he said. “Fireweed is this flower that pops up after a fire, and it’s one of the most beautiful flowers that is resilient.”

It’s this same sense of mutual assistance present in the close-knit arts community of Thunder Bay, where artists from a diverse range of disciplines work together and collaborate. “We all depend on each other and we share our skills,” he said.

Dumont also opened up about experiencing access barriers due to his invisible disability including chronic back pain, mobility issues, and chemical sensitivity. For instance, he said “art galleries paint the walls fresh in between each show, so I have to wait two or three days [ . . . ] before I can even walk in the room.” 

“It can be difficult to tell people ‘I’m sore.’ I have this leftover baggage to minimize my disabilities or try to cover for [other people],” he said. “I’ve had to learn how to ask for accommodation.” For instance, asking for a supportive chair for his back is now a requirement when working with an organization.

“I initially used to be kind of shy, like ‘they don’t really mean it when they ask if I have accommodation needs.’ I was skeptical,” he said. “And then I realized, people are asking about my accessibility needs because they really want to facilitate something successful. So, I had to learn to trust other people.”

Dumont also attributed many of the opportunities he’s received in recent years to the internet, and its ability to connect artists and audiences around the world, especially during the pandemic. “I got into a couple of international shows because everyone was [online] in lockdown,” he said. While he’s never been to BC for concern over the risks of being exposed to mould, he was able to showcase his wearable art in Vancouver Pride virtually. 

Dumont’s first solo exhibit, Mukwa Dodem, which showcases his mosaic work, will take place during May in Toronto. The title of the exhibit means “I am bear clan.” He wrote, “As a survivor of intergenerational trauma stemming from Indian Day School, my work often explores emerging themes in anti-colonial urban indigenous and queer identities.”

He’s also gearing up to participate in Indigenous Disability Awareness Month (IDAM) in November. Started in 2015, IDAM brings awareness to the significantly higher rate by which Indigenous people experience disability in comparison to the general population. The unique barriers experienced by Indigenous people with disabilities are linked to colonialism.

 “My work seems to resonate with people and it’s humbling and it makes me want to cry,” he said. “I started making art full time about eight years ago. I was 48. And, so, life can begin at 50.”

Follow Dumont on Instagram at @madbear67, twitter at @micheldumontart, and TikTok at micheldumont3.