Jeneen Frei Njootli’s solo exhibition in the B.C. Binning Gallery, my auntie bought all her skidoos with bead money, speaks to refusals, belongings, loss and love, through a new and deeply personal body of work. Its propellant is a series of cultural belongings which are not, in fact, on view: hand-sewn beadwork gifted to Frei Njootli by the women of her family. On first entering the gallery, visitors encounter four large-scale sheets of steel leaning against the walls and floor. Upon their surfaces we catch fugitive impressions left by the beads, which have been pressed into the artist’s skin and then transferred, by way of grease prints, from her skin to the steel. As they inhabit the gallery’s atmosphere over time, the steel plates gradually respond to their environment and, depending upon humidity and temperature fluctuations, the spectral floral patterns might approach the viewer or recede from view, as though of their own volition.