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Red Cedar wood, Hand-formed Kilned glass
Price available on request
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- Additional Information
- Artist Bio
Red Cedar wood, Hand-formed Kilned glass
|Dimensions||35 x 35 x 3"|
|Nation||Coast Salish (Musqueam) Nation|
Coast Salish (Musqueam) Nation
Susan Point is a Musqueam First Nations artist. She was born in 1952 and lives in Vancouver, British Columbia, Canada.
Susan artistic career began in 1981 and she immersed herself in the study of traditional Coast Salish art, and emerged with a language of design, both authentic yet vibrantly contemporary.
As well as practicing traditional motifs, Susan also expresses her own personal style. Like many First Nations artists, she uses the meaning found in traditional art to create innovative work in a wide range of mediums. Susan initially began producing fine art in precious metals, serigraphs and acrylic paintings; however, she is now producing large scale public art in mediums which include glass, wood, stainless steel and concrete. Many of Susan’s works can currently be found in private and corporate collections in over twenty countries around the world.
From the Artist: “Coast Salish art is relatively unknown to most people today as it was an almost lost art form after European contact — the reason being is that Salish lands were the first to be settled by the Europeans which adversely affected my peoples’ traditional life-style.
Today, much of the native art associated with the Pacific Northwest Coast is from principle tribes of northern British Columbia. Because of this, over the years, I spent a great deal of my time, as a Coast Salish artist, trying to revive traditional Coast Salish art in an attempt to educate the public to the fact that there was, and still is, another art form indigenous to the central Pacific Northwest Coast.
Although most of my earlier work is very traditional, today I am experimenting with contemporary mediums and themes; however, I still incorporate my ancestral design elements into my work to conditioning as well as social and economic conditions.
In creating my art, I feel a need to continually express my cultural background and beliefs yet, at the same time, my work continues to evolve with changes within and outside of my community.”
2007 British Columbia Creative Achievement Award for First Nations’ Art
2016 British Columbia Lifetime Creative Achievement Award
Selected Group Exhibitions:
2011 Coast Salish Masterworks: Connecting the Past to the Present, Coastal Peoples Fine Arts Gallery, Vancouver, B.C.
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Red Cedar wood, Yellow Cedar wood, Abalone shell, Acrylic paint, Leather
The carving of flutes of the Northwest Coast extends back historically through time. The dramatic importance of the flute was indicated by the variety of specialized whistles, each of which was produced to make specific tones. Songs and dances were part fo all ceremony and ritual, a fundamental element of the inherited privilege. Equally important were the many whistles and other musical instruments that were specifically designated for most dances. Wooden whistles of one, two or three shafts, each with several holes and reeds produced a strong and clear note. Flutes and whistles were traditionally blown in the woods to introduce the cermonial season. Every instrument was the object of time, skill and concern and was considered by those who owned it as a necessary part of the family’s collection
Price upon request
This piece opens to reveal an inner box with relief engraving that echos the outer lid.
Traditionally, boxes were considered prized possessions and customarily used to store wealth or special ceremonial objects such as masks, rattles, clothing and adornments. People often gave names to these beautiful ornate boxes, told stories about their histories and treated them as family heirlooms. However, non-decorated boxes acted as instruments of life – from storing less precious articles, to food and later used for mortuary purposes. In Haida mythology, a stack of boxes contained the essence from which Raven created the world.
Eagle, Dogfish, Beaver and Frog Box retains its traditional elements through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline of this treasure. The gently angled lid with Abalone inlay, as well as the engraved and incised elements on the box is suggestive of the prototypic bent cornered wooden boxes and chests.
The box contains not only depictions of four important crest animals, but connects to past traditions in which a box held more than the material object, it also linked people to their heritage, lineage and each other.
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Sterling Silver, Argillite, Abalone shell, Engraved
Although Derek White’s Beaver and Bear Box is constructed from the contemporary material of Sterling Silver combined with Argillite, this box retains its traditional values through conception and imagery. Derek exhibits his mastery in his precision of line and perfect symmetry of the formline on this treasure. The gently angled lid with Abalone inlay as well as the engraved and incised elements on the box is suggestive of the prototypic bent cornered wooden boxes and chests.
Other works by this artist
Serigraph, State II/II, Edition of 50
(For inquiries on custom framing, please contact the gallery)
“Undoubtedly the richest place of the planet is the Sea. Life on the planet exists because everything in the ocean is magical; between the deepest trenches, and the white surface. We see her uncompromising changing moods in the wind and surf. These are the moments I like to ponder; the eternal tides, smearing time.” – Susan Point, 2017