In the courtyard of his workshop in Brignoles, France, sculptor Jean-Joseph Chevalier is creating an extraordinary work of sacred art - a 6.5-foot statue of Christ the Carpenter carved directly from a single 1.2-ton block of limestone. The rare sculpture, commissioned by a patron for the Apprentis d'Auteuil foundation, will be installed in the organization's cloister in Marseille, a place dedicated to training and education.
The subject matter itself makes this sculpture exceptionally unique in the world of sacred art. "It was the patron who wanted this theme," explains Chevalier, originally from Vendée and now based in the Var region. "He wanted to pay tribute to manual work, effort, and faith." The depiction of Jesus as a carpenter is extremely rare in religious artwork, making this commission particularly significant.
The sculpture showcases remarkable artistic detail and symbolic meaning. In the piece, Christ places one hand on a wooden plank while the other gestures toward his heart. "The folds of his garment form like rays around the heart, an evocation of the Sacred Heart," describes the sculptor. On the wooden beam, he will engrave the phrase from the Lord's Prayer: "Give us this day our daily bread."
Chevalier employs an exceptionally demanding technique called direct carving, working without preliminary models or guides. "I start from a raw block, without a model. Everything is in my head. It's more complex than traditional pointing methods, but more alive. You let yourself be guided by the material," explains the artist. This unforgiving method requires extraordinary skill, as there's no room for error when working with such a massive piece of stone.
The limestone itself was carefully selected for this sacred commission. "It's a stone from Poitiers - tender, homogeneous, frost-resistant, and with an ideal cream-white color for the fineness of details. It has already been used for the Tuileries Garden in Paris," notes the 47-year-old sculptor. The choice of material reflects the importance and permanence intended for this religious artwork.
The sculpture carries deep theological and social meaning, particularly relevant to its destination. "Jesus the carpenter is a meditation on work," confides Chevalier. "Since this is a commission for the orphans of Apprentis d'Auteuil, the connection is obvious. Before his apostolic life, Christ worked, like each of us, alongside his father, Saint Joseph." At the base of the statue, the artist will add nails - symbols of both carpentry and crucifixion, representing the dual nature of work and sacrifice.
The project faced significant delays over its three-year timeline. Originally conceived three years ago, the work was postponed due to the death of a partner workshop director. "The stone had been there for three years, we had to proceed," smiles Chevalier, who resumed the project this autumn. Despite the setbacks, his passion for the work remained unwavering.
Chevalier draws inspiration from a small statuette of Saint Joseph provided by the patron, but reimagines the posture and movement to emphasize Christ's unique identity. "Everything is built progressively. I compose in space, I correct while sculpting. Nothing is fixed," he explains. This organic approach to creation allows the sculpture to evolve naturally as the artist works.
The physical and emotional demands of the project are considerable. "At six and a half feet high, it's physically demanding, but it's fascinating," notes the sculptor. "You have to anticipate shock waves, make reserves to avoid breaking fragile areas." Working at such a scale requires not only artistic vision but also engineering precision and physical endurance.
As the sculpture nears completion, Chevalier describes the emotional impact of his work. "I always start with the face. And there, there's a presence. You feel the body emerging. It's almost an encounter," he reflects. The artist hopes to complete the piece before November 20, the planned date for its blessing in Marseille, which he hopes will be presided over by Cardinal Aveline.
The symbolic elements throughout the sculpture create a cohesive theological narrative. "In this allegory of work, there's also the idea of sacrifice, sometimes necessary, for those we love. It's a reflection on work and providence, but in statue form. Each element has its meaning. The bread, the wood, the heart: everything is connected. Daily bread is both work and, in faith, Christ himself," explains Chevalier.
Reflecting on this monumental achievement, Chevalier views the sculpture with both pride and humility. "Each sculpture is a bit like a child. But this one... It's probably my most beautiful piece," he concludes. The work represents not only artistic excellence but also a rare theological statement about the dignity of manual labor and the connection between earthly work and spiritual devotion.
