In JCDVL, the acrylic surface transforms into a battlefield and a sanctuary, where vivid colours, fractured forms, and urgent brushstrokes collide in a raw confrontation of spiritual symbolism. Three figures dominate the composition: on the left, Jesus is depicted with an air of superiority—pompous and smug, his gaze cast downward as if in judgment. On the right, the Devil is tormented and malevolent, embodying chaos and suffering. At the center stands a third figure—the representation of the viewer—caught in the tension between these opposing forces, neither fully embraced by divinity nor consumed by darkness.

The composition's angular geometry and layered textures create a dynamic visual language, challenging the viewer to navigate the interplay of faith, doubt, and moral ambiguity. JCDVL does not present a simple binary of good versus evil; instead, it interrogates spiritual narratives' power structures and psychological forces. If Jesus appears distant and self-righteous while the Devil writhes in anguish, where does that leave the figure in between? What does it mean to exist in the liminal space between absolutes, where morality is not dictated but questioned?

Like an altar upon which conviction and uncertainty are laid bare, JCDVL compels an internal reckoning. It does not dictate a singular interpretation but provokes contemplation: How do we reconcile the forces of righteousness and temptation? Where does the boundary lie between judgment and redemption? Through this exploration, the painting becomes a mirror of the human condition, where sin and virtue are not opposites but intertwined elements of our shared experience.

By fusing theological iconography with modern abstraction, JCDVL transcends traditional narratives, placing the viewer at the centre of the struggle. It is not merely about the figures depicted but about the perpetual conflict within ourselves—the search for truth, the endurance of doubt, and the possibility of self-determination beyond imposed dogma.