Brisbane’s Gia Mitchell recreates the ceremonial site and paraphernalia of a fantasised coven in remote Western Queensland. The gallery space becomes the centre of a sacred compass circle of scorched earth. Images of women loom over the cardinal points: North, South, East, and West. A fan made from crow feathers, the burnt remnants of a crude musical instrument, an embroidered likeness of a noxious Madagascan weed, and the skin of a blue heeler—objects employed in The Way—are displayed with a nonchalance that contradicts their symbolic potency.