With a number of scatological pieces, such as the notorious ‘Cloaca’ (2000), Wim Delvoye was able to profile himself as one of the most controversial artists of his generation. The artist's model which he employed to do so, is that of the 'super'-artist: the businessman-entrepreneur that remains firmly in control. Characteristic of these types of artists is that they respond like no other to current political, economic and cultural models, and in particular to the mechanisms that drive the art world and the art market. At the same time they respond quickly via their multimedia work to corny assertions about the artistic practice and artwork. Delvoye presents himself as an autodidact who, assisted by experts and experienced craftsmen, continuously expands his knowledge of new techniques and tests their limits.
