In Lines: A brief history, Tim Ingold (2007, p. 44) identifies a ‘trace’ as “any enduring mark left in or on a solid surface by continuous movement” and suggests that most traces are either additive (forming an extra layer upon the surface) or reductive (formed by removal of material from the surface).  
Traces is an exploration in the synchronicity of all things, and the ways in which traces can be both additive and reductive. Semi-transparent digital ‘traces’ (themselves representing physical stitches in a larger quilting project) denoting mid-19th Century cod density are superimposed over a digital weaving of cod fish and mackerel. 
The stitches are at once representative of both loss and abundance, disrupting linear notions of time and space. There is no ‘past’: these traces and their entangled afterlives are omnipresent and, hauntingly, very much part of the ongoing here and now. In reality and in nature, everything is inter- and intra-related.