This work offers an estrambotic vision of the Ganges River, a space where life and death converge, depicted here as a river of blood.

Paying homage to Charon, Hereu portrays the ferryman who carries souls to the afterlife—but this time, he has abandoned his traditional boat, slow and imprecise, in favor of a flying eggshell, swifter and more agile for the crossing.
Quim Hereu paints himself as a child, joining the theatrical scene as a genie emerging from a lamp, his long Pinocchio-like nose observing the moment with a touch of disdain.

As in other works from the 10 Cities series, the mosquito inside the Corpinnat bubble reappears, a symbolic element that ties the pieces of the project together.
The impact of visiting this part of the world was so profound that for years he kept returning to this composition, blending imagination, cultural symbols, and myths until he arrived at this estrambotic vision of the passage between worlds.