In the Child Welfare Centre, on a floor not open to the public,
there are 32 so-called ‘tondis’, portraits in circular form framed
in a square. Here, too, is the silhouette ringed by an imaginary
landscape. These appear to be more disturbing than the art in
the public places; the silhouette of a child caught in a network
of cables, for example.

From a distance all appears normal, but on closer inspection,
a disturbing element emerges.
The festively-coloured décor is constructed from a collage
of ecstasy tablets, or a stand of football supporters; clouds
of waving mist appear in the background, or is it steam from
a large industrial complex? Is that African landscape decorative
or inhospitable? Henriette says one mustn’t be too explicit:
“ I see what you don’t see, is that it?”

portraits in circular form framed in a square. Here, too, is the
silhouette ringed by an imaginary landscape.