The Intersections

Cinthya Chalifoux is located in Tiohtià:ke (Montreal) and is of Anishinaabe (Algonquin) descent. Formally trained as a tailor, Chalifoux has practiced the art of Bespoke (Old English term for Couture) and is recognized by her peers as a master in this technique that implies rigid notions of 3D constructions as well as traditional fibers treatments. The state of her practice, and personal milestones, led her to other concerns, using the fibers arts as a communication vessel. The artist is now preoccupied with the intersections of self-identity, religion, overconsumption, crafts (Métiers d’Art) as cultural patrimony, and genders within society. Chalifoux sees her practice as art, her role as one of an Advocate in the form of a Storyteller. 

Several traditional fibers treatments and construction techniques are used in her work, such as handcraft, soft sculpture, dying methods, and embroidery. In contrast to this conventional craftsmanship-oriented development method, she often explores untraditional contexts or technology use. This method often serves as an initial part of an intention to communicate implied meanings. The artist emphasizes contextualizing her art and therefore uses the notion of places to create spaces for introspection; to inhabit a space with art becomes another vessel to the core themes that the artist explores, contrasts, and questions.

To construct the future, one should look at the past to be a citizen of “the now.” This message is of importance; this message is one of her intersections.