One of the most idealistic—and elusive—figures associated with the early Arte Povera movement, Turin-based artist Piero Gilardi was widely recognized in the early 1960s for his experiments with unorthodox materials and sculptural forms that radically diverged from the avant-garde mainstream. His much-acclaimed and often controversial “Tappeti-natura” (Nature-carpets)—floor installations and wall reliefs made of meticulously molded and painted polyurethane foam that take the form of rocks, plants and a wide variety of nature studies—brought him substantial critical and commercial success through the ’60s. He grew disillusioned with the art world, however, and, by the early 1970s, ceased making art, abruptly exiting the scene.

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