An open-ended narrative in which several elements coexist in the installation space: an old smashed compute, several balls made of rolled up sheets of paper, presumably portraits if we are to judge from the eyes that still peep at us, walls covered with drawings of faces bearing “wanted” signs, some crumpled-up portraits locked up in a small cage and a catalogue of faces that have next to each a diagram that helps us trace the source of  the information contained. Only the beginning of a looped video gives a clue to the starting point of the story: “Once all the people whose portrait I had in my computer decided to escape. They felt their right to privacy was being violated”. The rest of the story is left to the interpretation of the viewers. We can imagine the police hunt suggested by the siren alarm in the video as having been successful or not, while we wonder whether that catalogue of faces should be placed at the beginning or the end of the story. It is a modern fable that leads to a reflection on our society of digital control. We can no longer laugh at the “primitive people” who refused to be photographed because they thought that portraits would steal their souls, now that we are witnessing a huge legal debate over the protection of our image as part of our identity. This fictional approach brings into discussion how our ideas about freedom, safety and control can be negotiated in our time.