Origin is a sixteen panel wide transitional illustrative mural, designed in order to show how through harmony both Evolutionism and Creationism can become unified. The reason unification is important is because the age-long separation may have augmented the development of other binary oppositions in society, namely race, class, gender, sex, ethnicity and nationality to name a few. In the contemporary age of equality over inequality so as to create a balanced civilisation, this mural is important in conveying that unity can be achieved by focusing on similarities rather than differences. As such it presents cosmology from both perspectives through the lens of the lifeforms whether animals or plants, which inhabit the planet Earth our home.
Evolution begins on the left side of the mural from the scientifically proven, earliest known creatures in the history of life such as comb jellies, sea anemones, pikaia and sea sponges. These creatures seemingly evolve and grow in one continuous motion into a reinterpretation of a Megalodon shark based on the likeness of the contemporary Great White Shark. Each animal, plant or even landscape which is visualised is symbolically linked with its physical counterpart as well as an idea of change, and where each fits in within that story fo evolution. The shark does not simply emerge out of nothing for instance, something of lesser complexity and size must have come before such as the comb jellies and pikaia in the previous illustration. Eventually aquatic creatures transform to adapt to life on land by shedding there gills, fins, flukes and in some cases their skin, in place of other physical traits which will better help in their survival. The fourth panel in the serious indicates this metamorphosis clearly with a primeval crocodilian which is caught mid transition between reptile and fish. We can see this transition quite clearly even in today's animal kingdom in frogs and other amphibians which are neither fish nor reptile, but retain elements from both.
Over time reptilians make way for warmer blooded creatures such as mammals and birds, which have come to dominate almost all terrains. Evolutionism eventually culminates at the centre with the image of a man arm outstretched to bridge the gap between evolutionism and creationism, which begins with his woman counterpart. On the Creationist side of the mural the woman begins the cycle of change, stylised with more metaphysical features such as pupil and iris-less eyes with a swan seemingly emerging out of her body. A throned King-like Panda dominates the adjoining scene, fascinated by something in the sky or within its own mind. Mythological figures such as the phoenix, kukulkan, the black tortoise and a mermaid all take up their respective positions within the mural, illustrated so that they do not seem dissimilar to those creatures depicted over the side of Evolution. This better helps to unify both perspectives visually, contextually and conceptually, as giving them the appearance of creatures we humans accept to be real. The mythological is designed so they themselves can be appreciated as creatures that may exist as well. The mural comes to an end, or beginning depending on your perspective with an object riddled with symbolism.