ABSTRACT
This paper describes the psychoanalytic treatment of a woman patient during the first six months of the COVID-19 pandemic, when the setting was profoundly disrupted and was transferred from in-person psychoanalysis to telephone sessions. Drawing on Bleger's formulations on the construction of the analytic frame and on André Green's on the function of the framing structure in the construction and elaboration of phantasy life, the case study shows how, in the absence of the physicality of the setting, the most primitive anxieties about the symbiotic relationship with the mother were expressed and contained in the transference and countertransference in the analysis. The author offers some considerations about the notion of "background of the uncanny", derived from Yolanda Gampel, which draws attention to the challenges when both patient and analyst are inserted into the same traumatic wider context. It is suggested that the production of an art object by the patient during this period represents a step in the elaboration of the work of mourning and towards symbolization.