The Temptation of Fragmentation: A History of Humanity

Two findings inspired this painting:
My friend Alicia and I were walking along the back-alley of The House in Kensington, and found a wooden door. This finding inspired me to take the door home and make art out of it.
Regularly I purchase Vogue, and in it was an ad for Dolce and Gabbana. The ad included the beautiful faces of: Claudia Schiffer, and Naomi Campbell. You can see the original here.
When I painted this picture several thoughts were being tossed around in my head, and through the outworking of this art I portray three things: the possibility in temptation, a revision of history's view of marriage and singleness, and the possibility of purity.
First, in some circles women are often depicted as being the tempters, but in here I represent both genders. The male (green figure) represents the knowledge of tempting. The female (yellow figure) is unaware of her tempting others.
Secondly, the couple in the middle represent several implications: that married or single life is not better than the other, and committed relationships also include the value of other friendships. In most paintings of couples, they tend to be the central focus. Society often represents happy people in romantic relationships, and shuns the single life unless it is full of uncommitted sexual relationships. In the painting, the couple does not look in the same direction, signifying that being in a committed relationship is not the finish line to sexual temptation.
Thirdly, I also portray the purple figure as being pure. I do not intend to translate that women are more pure, but that as a person not in a covenant relationship she represents honor and self-control as such. I intended to paint her as a predominate figure, that singleness and purity are possible. Her figure is skewed in proportions to represent the fallenness of humanity, but her eyes are fixed on something further ahead of her. Though humanity (the yellow and blue figure) attempt to tempt her, she keeps her eyes focused.
Most likely you may also find other implications in this painting, or none at all, but I hope you may find what I have said or painted as food-for-thought.