Spirit Wrestler Gallery (Vancouver, Canada)

Common Thread (2000)


  • Medium: serigraph
  • Size: 30 × 12 inches
  • Edition: 52

The scope of life on earth encompasses a vast space, with the moon and the centre of the earth as its borders. This space is our playground. Within this clearly defined area live creatures who spend their entire lives in one part of this environment or another. Most likely, they carry no awareness of the others they share this space with.

In Common Thread, a 2.1-m (7-foot) glass house post and a limited edition serigraph, Susan Point illustrates the link between all creatures. “I believe,” she states, “all life on earth, and no doubt the universe, is connected.” This piece relates to our own planet and also includes a few celestial bodies, a practice not uncommon to traditional Salish house post design. The top of the post features the moon. Its face is that of the wolf—a creature we often associate with lunar events. As the most distant object we as humans have been able to reach, the moon keeps watch at the outer reach of our existence. Directly below the moon is a star, and a few other stars appear throughout the piece. Below the star sits the owl, a messenger. Farther down, at the halfway point, the raven makes an appearance. The raven features a human face, belying its reputation as a transformer, moving between one form and another. Next is a wolverine, and then a sturgeon—known for living on the deep sandy bottom of the river. The earth, anchor or root of this piece, is fiery and wild to the core. Connecting all of these creatures, whether they know it or not, weaves the thread, the river of life—that which reminds us we are all related.

—Susan Point as told to Vesta Giles

Susan Point

Susan Point


Coast Salish (Musqueam)

(1952- )

Susan began making limited edition prints on her kitchen table in 1981 while working as a legal secretary. She received several early commissions, which established her reputation for innovative proposals and for completing projects on time, on budget and at the highest level. She took courses in silver, casting and carving, all of which led to monumental sculptures in mixed media, and she was the first Northwest Coast artist to work in glass. She continues to release a number of print editions each year, but her focus has been on commissioned sculpture.