Enter through the narrow gate; for the gate is wide and the way is broad that leads to destruction, and there are many who enter through it. For the gate is small and the way is narrow that leads to life, and there are few who find it. (Matthew 7:13-14).

That parable from Jesus' Sermon on the Mount inspired my 1980 painting, Two Roads. While artists have depicted scenes from the Bible since at least the 3rd century, my aim was to create an image unlike any seen before: an in-depth portrayal of the ultimate duality through symbolic imagery.

The painting presents two opposite situations, offering viewers a choice of which path to take. Rendered in a hot color scheme are the masses of humanity, seduced and enticed by the lord of the fallen world, Satan. The wide gate features a Babylonian motif, including the serpent, long associated with sin and rebellion. The multitude of people, symbolized by the stubborn goat, follow a road that leads nowhere. They are entranced by various temptations, deceptions, money, and power in a swirling, hypnotic vortex.

On the other hand, cool, soothing colors were used for the holy narrow way, with the Messiah as king overlooking the proceedings. The narrow gate is inscribed with the ancient Tetragrammaton, the four-letter name of God, and is flanked by trees of life. The small number of people on this path, symbolized by the obedient lamb, are being baptized before entering the narrow gate. They find their way, under the covenant of the rainbow, to the new Earth paradise.

Two Roads was carefully researched for an accurate presentation of Biblical concepts as I understood them at the time. I personalized the painting with a self-portrait; I am the blond-haired young man in the green shirt at the crossroads. My signature is symbolic, representing my last name with an arrow, as historically, Fletchers were arrow makers. This painting remains one of my all-time favorites; I have not created anything quite like it since.