Johan Creten has been an influential figure in altering the perception of ceramics within the sphere of contemporary art. The Flemish sculptor is one of the pioneers of the revival of this material in contemporary art. His goal is to express a wide range of ideas with this material in order to trigger political and social thoughts through his work that remains deeply rooted in everyday life. Burdening his works with blemishes, Creten faces the inevitable with honesty. But he also produces monumental sculptures in bronze; their size and material strength are as overwhelming as the intrusive intimacy of his smallest ceramic gestures. Once installed, these objects – displayed on plinths or mounted on walls – are meant to be observed from specific vantage points that force viewers to slow down and engage with the piece of art. With Johan Creten, there are not seven sins anymore, but an infinite and unlimited number of them. Creten's sculptures have nothing to do with moral or sanction, guillotine or censorship; they rather speak of sins, of life that merge desire and pain, hope and misery, luxury and anger, love and death, Eros and Thanatos.

Johan Creten has been an influential figure in altering the perception of ceramics within the sphere of contemporary art. The Flemish sculptor is one of the pioneers of the revival of this material in contemporary art. His goal is to express a wide range of ideas with this material in order to trigger political and social thoughts through his work that remains deeply rooted in everyday life. Burdening his works with blemishes, Creten faces the inevitable with honesty. But he also produces monumental sculptures in bronze; their size and material strength are as overwhelming as the intrusive intimacy of his smallest ceramic gestures. Once installed, these objects – displayed on plinths or mounted on walls – are meant to be observed from specific vantage points that force viewers to slow down and engage with the piece of art. With Johan Creten, there are not seven sins anymore, but an infinite and unlimited number of them. Creten's sculptures have nothing to do with moral or sanction, guillotine or censorship; they rather speak of sins, of life that merge desire and pain, hope and misery, luxury and anger, love and death, Eros and Thanatos.