In my video animations I like to explore several techniques of generation of movement and consequently different ways to conceive time. Lacuna originated from research on the concept of difference and repetition, particularly through French philosopher Gilles Deleuze’s reflections. The theoretical interest in different repetition is due to the fact that, on the one hand, repetition is the essence of the animation video, but at the same time is connected with the indeterminacy of human nature, a theme which underlies my work as a whole. The title plays on the etymological meaning of the term ‘lacuna’, intended both as lack, gap, absence, a state of pure will and indeterminacy, and as a pond or lagoon, where the video animation is set. My intention was to explore the philosophical concept of different repetition both in the sequence of events drawn (the double, the reflections, memory apparitions, the past reflected in the present, dejà-vu, the body’s cyclic return to nature from which it originates), and in the technique used, consisting in the repetition of a unique image, an enlarged photocopy of a photograph of a lagoon, traced with carbon paper. As in other works of mine, the technique is an integral part in the creation of meaning in the video, which is made up of over a thousand drawings. The animation had to subvert the fixed relationship with movement intended as a transfer of a character from one spot to another against a fixed background. In Lacuna I have tried to reflect on this kind of change, which I would define as vibration or modulation. Movement intended as vibration is a change in quality and consists in the modulation of all the image components. We have to conceive it as an uninterrupted, fluid metamorphosis of a whole, as the change in quality of a whole to which the subject/characters belong, in a context in which translations in space are subject to the becoming of the whole in which they are caught.