timeline revisits the early use of photography to categorize human beings. Parallel to Eadweard Muybridge’s experiments with motion, and emerging from the same temporal and investigative context regarding the photographic image, Francis Galton employed a composite technique to overlay faces. His aim was to “demonstrate” patterns among specific groups of people, thereby creating a purported “visual confirmation” of what would later become the foundation of eugenics theory. In this photographic series, I apply that same composite-montage logic to explore questions regarding my own origins and female ancestry—themes I also navigated in the preceding series, erinyes and traces. Photographs of myself, my mother, my maternal and paternal grandmothers and great-grandmothers, and my daughter and son are overlaid and combined to create a hybrid being—a form of mestiçagem (racial and cultural mixing) that interrogates the european origins of both my maternal and paternal families, origins that had been unknown and silenced by previous generations, remaining hidden from my own generation and that of my children.