Artist, political militant and tireless theorist, Piero Gilardi undertook his artistic career at the start of the 1960s, first with his pioneering Macchine per il futuro and then, from 1965, with his Tappeti natura displaying the influence of Pop Art. Exploiting the colourful artificiality of expanded polyurethane, these bas-reliefs reproduce impressions of nature in no more than a few square centimetres: soft, welcoming and playful, they reject the wall and the display stand in order to conquer the space of everyday life and finally interact with the body of the audience, habitually kept at a distance from the work of art. [...]
