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Is JC a freak, an outsider, a weirdo who breathes, eats and sleeps clay? Does he occupy an anachronistic position in the world of contemporary art? Does his pseudo-classical use of a narrative structure on the borderline of art and non-art have a retro effect, or is he indeed ten years ahead of his time with his reflections on 'The Grotesque', 'The Baroque' and 'The Mannerist'?
His innocent, almost naïve-looking figurative sculptures are complex metaphors with a socio-political agenda. Fascism, fanaticism, racism, the extreme right-wing and sexual discrimination collide with reflections on the absurd, fragile nature of human relationships, on the helpless emotional communication and incompatibility of the sexes. The recent sculptures are more abstract and show the complexities of today's chaos. JC believes in the almost magical, possessed power of the unique object and in the healing qualities of 'Sculpture'. In most cases he locates his sculptural installations in historically loaded spaces with substantial added value; a quarantine area in the Mediterranean sea (Sète), a Roman underground water reservoir (Istanbul) and the Renaissance rooms at the Louvre (Paris).