The separateness of these two figures, male and female, is shown in their individual physical characteristics distinguishing the two sexes, while their original connection is evident from the two missing halves of their faces which attached to each other form one undivided primordial face of male and female. The sorrow of being separated and never being able to reunite is shown by one single tear in each one of the two eyes. The distance between the two is minimal, they are almost touching and yet they are physically and spiritually infinitely far.

   The gaps and protrusions of their bodies are aligned in such way as to fit into this unitary single body. Unity is also symbolized by the yellow of their bodies. Separateness is indicated by sexual characteristics which are painted blue. These blue patches look as if they were superimposed on the solid yellow background of the bodies. Seen from this point of view and supported by Greek myth, the individual sexual characteristics appear secondary, almost an afterthought, The breasts of the woman are dark yellow exemplifying secondary sexual characteristics. There is a hierarchical relationship between primordial, hermaphroditic identity and sexually differentiated identity shown by the symbolic meaning of these two colors in which the former precedes the latter. In the pairing of blue and yellow, yellow is "..the male color, the color of light and life..."3 Blue as a signifier tends to distort an object and make it illusive and elusive. "Insubstantial in itself blue disembodies whatever becomes caught in it."4 The opposition yellow/blue associated with primordial hermaphroditic identity/sexually differentiated identity reflects a hierarchical relationship of the two planes. The yellow of the bodies is primary as the color of light and life while blue is secondary as the color of the insubstantial and elusive.

   The issue of hierarchy also applies to the two figures themselves. The male figure displays motion. His right leg is bent, his head tilted while the female figure is immobile and stationary. The male figure looks as if he is the one who stepped away and severed the single, original body. Contrary to the biblical story in which a woman was created from a man's rib while he was asleep, a story which established forever the primacy of the male sex, the painter considers the male to be the one who removed himself from the original union while the motionless woman was the one who retained her connectedness with the original, primordial source of all creation. In the hierarchy between these two figures, unlike the biblical story, it is the woman who has primacy.

   The background of the painting has several colors superimposed upon each other. The furthest away leading to infinity is the patch of light blue sky. Orange, dark red and brown follow. Orange is a transitional color between the gold of sun rays and a deep red symbolizing the mystery of life, a color which burns within the individual and the earth. Finally closer to human beings in their habitat on the earth is brown, the color of earth, of ploughed land and soil. It is the presentation of living, organic nature in the images of two disconnected figures and their relationship to each other and to earth, sun and sky which defines this painting.