Ouroboros shows creatures that are characterised by their mode of terrestrial locomotion. It is the central element that defines their trimmed, rigid, puppet-like form. Their cyclical movement is constantly tripping, yet giving them the impetus that drives them ahead, thus performing their duty of procession. This state of redundant falling is their sole attribute: a morphology and a language that possibly draw on the consciousness of our own body. The action takes place in a deserted universe, governed by known laws, where any human influence is rare. We can, at least, understand its codes of pictorial representation. Around the action hovers the huge out-of-frame question of the origin of creatures, through the absence of language or through what is not written about what this universe and our own have in common. Only the natural and architectural elements resist this frontier, and views of the real emerge from the narrative by montage juxtaposed with computer images. This world takes its references from the work of animators such as Tamás Waliczky and Bill Plympton, the forms of Miró and Sophie Taeuber, and the video games work of Fumito Ueda.