Both chance and intention participate in my work. The first, because recognizing and seizing the chance is an intrinsic part of working with images; the second, because each new step you take in the same direction fills with coherence the path you have already traveled. All research is about taking an idea to the end and each new discovery indicates the direction of the next one. Studying symbols, isolating them, seeing how they work decontextualized and then re-coding them is a form of alchemy and part of the path of authorship. The video Cleopatra Stomp is a new stage on that path. In previous works I have studied different imageries; among them, the symbolism of women in erotic spectacle, that of dance and that of borderline musical fusion. In Cleopatra Stomp I try them in a work of syncretism, in an attempt to make strange cultural symbols work together in an improbable fusion: here is Arab dance accompanying a soundtrack of surf music; Persian belly dancing on the waves of the Californian coast; The Thousand and One Nights in a cabaret in Laredo. And here is the woman; not just the dancer or the actress, not just a vehicle or a prop, but the woman who is a dancer or an actress, the woman who is a mother, the woman who is aware of herself and what she does, who goes through the moment of her transformation and doesn’t just dress up in a symbol, but fills it with meaning. As I say, each discovery points to the direction of the next, and that is why there are previous works converging in this one, such as the videos Adiós, Sancho or En el Lago, just as Cleopatra Stomp is an open door to subsequent works, which will continue to take the same idea a little further, studying and experimenting with the confluence of cultures, with the dialogue of references and their protagonists.