In another piece, Errotin, la Vraie Lapin,Cattelan had Paris gallerist Emmanuel Perrotin dress up in a pink bunny costume shaped like a large penis. When in public, Cattelan's known to be enigmatic and slippery, dancing between the same type of emotional extremes he presents in his artwork - from sad depressive to class clown all in a matter of moments.
Conceptually, Cattelan's work recalls earlier pieces by Korean artist Nam June Paik, who often juxtaposed mainstream technological devices with religious or spiritual imagery in order to also critique the worship of mass media, as in TV Buddha During this time, Cattelan met some very talented designers who helped him set up his artistic manner and basis of his future artworks.
Between and his work has largely centered on publishing and curating. All were fascinated with the ability this artist presented — Jonathan P.
Early Training and Work Cattelan had no formal arts education. According to Debord, the advent of mass media and advertising around the s, caused people to become more transfixed by commodities and their representation, "images detached from every aspect of life," as a distraction, or substitute for, real life.
The work also grabbed the attention of Dodie Kazanjian, art critic for Vogue, and Calvin Tomkins, art critic for the New Yorker, who sought Cattelan out and formed an instant friendship with him. Hollywood is also re-figures a current reality in front of a new context.