I would have never noticed the similarities between your picture and the link without you having pointed it out, and I still don't think they are actually all that similar, but with that in mind I did take away a bit from originality. Other than that this is a fantastic work and my only other star deduction was technique, where elements of the background seemed to have more detail than certain areas of the mid-ground. I really did like the idea of the image and the setting, especially the neon lighting. Overall, I think this piece was very well done.

This is my first critique, so please go easy on this novice and his irrelevant opinions

Exile is a fantastic piece and a huge accomplishment for the artist, it was claimed that the finished piece took over 150 hours of work, and it shows.
Where shall we start? Well, to begin with, let's discuss the colouring.

Everything here is suitably grubby, from the tattered robes of the alien protagonist, to the subtle dents and scrapes of the gargantuan cement monstrosity upon which the citizens of this dystopia seem to shuffle across endlessly.
More than that, the artist has incorporated a foggy, hazy feel to the entire piece - bringing to mind at once the chaos of a bazaar or the smog-filled Hell of an inner-city slum. The atmosphere this creates is striking - we are cramped, we are crowded, we are unsafe.

This inherent seediness is deftly accentuated by the subtle neon signs at play in the background, merging both squalor and architectural brutalism with the faintest hint of sleaze and decadence. This place is Hell and all the poor wretches within are being tortured on all fronts.

My only criticism of this piece is a minor one. Every human face seems blocky and expressionless, whilst some emotions seem to be at play, they remain as lifeless and sterile as a waxwork.
But as I consider this, I wonder, is this a valid criticism?
Because I can't help but feel that this was intentional on the part of the artist.

Look at the alien, I earlier called him the 'protagonist' of this piece, and I stand by that. See how gently he cradles the baby, notice the slumped way he clings to the wall - as if afraid - and within his eyes is a subtle glint. But this is not the bloody hunger of a stereotypical alien, out to consume whole worlds and species, this look is one of affection, perhaps even love?
He, despite being physically dissimilar from us, is the most human character here.

The policeman, grim and unsmiling, has no eyes, they are covered behind a mask of faux justice. Robed in symbols of authority, he hunts down the alien, and yet he is the most alien and foreign creature within this scene. For he has no glint of affection in his eyes, only a black screen. He does not hold a child - a symbol of the future and life itself - he grasps a gun, which only has the power to end life and so destroy the future of whomever he shoots.

The masses look straight ahead, lining up and walking aimlessly like cattle being herded to the abattoir. A child gazes at the policeman, clearly distressed, only to be hurried along by his father, perhaps worried that the gun could soon be turned on him.
The police, with the tacit support of the people, hunt down this creature. The humans hunt the aliens and so become alien to us, not men but a horde of slack jaws and glazed eyes.

The love the alien has for the child will soon be extinguished, their bond forever broken by the screech of gunfire and the incessant march of jackboots. This love, this pure love, between a parent and a child, must be destroyed by the laws of the people and the police who enforce those laws.

To the sensibilities of the audience, it must look cruel, even absurd. For who would think to hunt down a parent innocently cradling their child?
But the artist has masterfully exploited that cruelty, enhanced that absurdity.

What I see is not an unnatural beast with a hideous face, a misshapen form and a soulless glare.
What I see is the pain and terror of a human exiled to an alien land.