Cire paints images and portraits on both roughly axed firewood and the kind of cast iron pans you might throw on an open flame, charging ordinary surfaces with layered histories and memories. Warmth and resilience burn bright here, whether it’s a joyful Cracklings 3 (Self-Portrait in Winter), with the artist smiling in a toque and furry-collared coat on a firelog, or Always Been Like This, A Warm Glow, featuring a child nuzzling into a laughing woman, created in oil, beadwork, and fabric on canvas. Some pieces, such as the firewood grouping Cracklings 8, with its glowing neon ATM sign, refer to the urban-Indigenous experience. And make sure to check out her “Hankburgers”, conjured with a hank of beads patty on two wood buns, slathered with acrylic condiments—echoing some of the symbolism of Consume.

Murray, meanwhile, suggests the celestial in ghostly abstract works like The Stars in Our Bones, rendered in bison-bone pigment on watercolour paper. Consume, meanwhile, features an enticing, picture-perfect white cake, conjured in glass seed beads and decorated with red caribou hair tufting and bead “sprinkles”. It sits atop an old-fashioned glass cake stand—placed on a pedestal, inedible, and questioning colonial-stoked consumerism, complicated by its materials.