Drawing on references that range from Gothic cathedrals and the fantastical visions of Bosch and Bruegel to the pop strategies of Andy Warhol, Delvoye dissolves the boundaries between past and present. His practice combines intellectual rigor with technical virtuosity, producing mathematically precise and visually intricate works that challenge conventions of sculpture, drawing, tattoo, and installation.

Since the early 2000s, Delvoye has developed his celebrated series of Gothic objects in corten steel, transforming excavators, dump trucks, and other industrial machines into elaborate filigree constructions. In these “trucks,” the Gothic language of arches, tracery, and buttresses merges with utilitarian forms originally devoid of artistic intent. Stripped of functionality, the heavy vehicles become paradoxical “cathedrals” of the modern age — industrial monuments reimagined as symbols of cultural memory and aesthetic transformation.

One of Delvoye’s most radical projects is his cycle of tattooed pigs. Onto living animals, he transferred emblems of consumer culture — from Louis Vuitton monograms to Disney characters — detaching them from their commercial origins and situating them within an unsettling artistic framework. The project produced a paradoxical model in which art and commodity became inseparable, and where the symbolic and market value of the work evolved with its living bearer.