Using patterns based on her father, Eddie Gruben's fox stretchers and traps, Gruben has hand-etched repeated forms into a set of found photographic aerial survey prints. These prints chart ice coverage in relation to oil wells in the Arctic Ocean that surrounds the artist’s home community of Tuktoyaktuk; they were recovered from local work camps that had been set up by oil companies and subsequently abandoned in the ‘80s. Marks added by the artist converge with but are texturally distinct from the exposures, which themselves include surveyors’ annotations—names and numbers added in the darkroom when originally printed. This intersection of inscriptions touches on very different but deeply entangled relationships to land and concepts of value, particularly with respect to tensions between home and resource extraction. Eddie was renowned as the region’s most successful trapper and is remembered as a generous supporter of his community. Orphaned as a young child by famine and the 1920’s pandemic, his skill and efforts in trapping with a dog team over vast distances enabled him to eventually build the largest transportation company in the Northwest Territories. Gruben’s (re)presentation of his tools is an ongoing process throughout her practice that works to preserve not the objects themselves, but to reflect on the many complex memories and values that can be sustained by a form.