At the end of the 1960s, Luciano Fabro created a series of works known as Piedi (Feet). Fabro often used precious materials in contrast to the common misinterpretation of Arte Povera as a literal use of “poor,” inexpensive, or otherwise impoverished materials. The artist often added a twist of irony to his work; in this case, the surreal sculpture resembles the claw of a gigantic, mythological bird.Half sculpture, half architectural element, Marmo colaticcio e seta naturale (Piede) subverts both. Instead of being a solid structure that supports the weight of the ceiling, it is composed of two distinct elements: the marble foot placed on the floor and the hollow cylinder of silk material, the silk stocking contrasts with the heavy foot. The lightness of the silk lends the sculpture a sense of potential movement and vitality. In the artist’s view, Piede as a skeleton covered with material.