DNAges of Man

Julian Vayne was an incredible model for this, pulling out pose after pose.

The back of the piece represents the past and religion, with the front symbolising the evolution of the piece and the future. The composition can be read from the feet, up through the torso to the neck and head,  down the shoulders and arms, finishing at the hands.

This is my biggest concept to date and encapsulates mankind’s struggle to understand the world, and how the erroneous ways of thinking about it through religion give way to science, painted along a timeline of the start and finish of the universe proposed by most physicists.  The centre of the bodypaint read from the bottom of the torso up starts with fertility and birth, the piece having symbolic ovaries around the idea of chakras and esoteric anatomy that emerged in Hindi texts. This then gives way to the discovery of molecules further up the piece, a discovery verified by Jean Baptise Perrin around 1911.

The entire composition shows the timeline of the universe by starting with blackness, symbolising nothingness at the feet, exploding into the big bang on the legs, morphing into nebulae and DNA as the piece evolves up the legs. This then bursts into the previously explained symbolism of reproductive organs and religious ideas and chakras, and then evolves into our discovery of molecules up the piece and across the collarbones. The piece culminates with the headpiece being the ascent of polytheistic religions and ideas of Baphomet giving way to the idea of a phylogeny tree of life, and from both physical and spiritual perspective, the shoulders have the start of Chaos/entropy symbolising the end of the universe. This travels down the arms, culminating in a “big freeze”, one of the proposed ideas of the end of the universe, symbolised by the hands covered with ice crystals. I added a  nod to Terry Pratchett at the end with nails the colour of Octarine, which he writes about in his book The Colour of Magic, which is a sort of “greenish yellow purple”.