羅婉儀是一個難以定義的藝術家。她擅長以文字書寫藝術家和創作行為，以繪畫拆解、重組文字和概念。《痕跡》分成文字和繪畫兩部份，底層流動的卻是相同的命題：我是什麼？藝術行為是什麼？記憶的本質是什麼？三個問題既是獨立的，又是互相解釋的。

繪畫部份記錄了一系列鉛筆作畫，包括手的自畫像、被畫框限制的《mad woman speaks》、記錄手製書過程的《work in progress》、收集泥土中的貝殼《cosmo-shells unearthed in my garden》、以工具為被寫體的《tools Dad remade》等。由定義自我、質疑符號，延伸至捕捉記憶留下的片刻痕跡。

文字部份由7篇文章組成，開展於討論創作的空間，結束於城市的凝視。一切都在消失中，她問：記憶是什麼？還有嗎？她這樣回答：

記憶的本義，在每一個人的經歷
它自有自己一套語言
你的記憶不是我的記憶
我的記憶不會大於她／他的

Lo Yuen Yi is an artist that is hard to define. She specialises in using text to document artists and their creative endeavours and using drawing to deconstruct and reconstruct both words and concepts. Traces is divided into two parts—words and drawings—but the same questions underlie the two: who am I? What is art? What is the essence of memories? Each question is independent yet intertwined.

The drawings are a collection of pencil sketches, including portraits of a hand, mad women speaks featuring frames, work in progress which records the making of a hardbound book, cosmos-shells unearthed in my garden collecting shells from soil, tools Dad remade with tools as the subject etc. From defining oneself, to symbols of doubt, to capturing the broken traces left by memories.

The words are made up of seven essays which start with a discussion about the space for creativity and end at fixation on cities. As everything disappears, Lo asks: what are memories? Are there any left? In response, she replies:

The meaning of memory is within each person’s experience
It has its own language
Your memories are not mine
My memories are not bigger than his or hers