The term Arte Povera can be translated to "Arte Povera" and was created by the Italian art critic Germano Celant. Poor here means its characteristic exploratory variety of materials.1 The main aim of the arte povera movement was to challenge or reject ideas about historical Italian art similar to ideas about Futurism, once again rejecting the ideas of artistic tradition. Fundamentally, arte povera was interpreted as based on the potential of movement, energy and matter. It was also the demonstration of what was inanimate becoming animate. Some traditional examples of these ideas are found in the work Breathing by Giovanni Anselmo, 1969.2 The work featured two 5 meter long iron bars into which a sea sponge was inserted. As the metal contracts and expands, the sponge breathes almost like a lung. Although he was unable to see movement, Anselmo had potential for movement, such as growing fingernails. In a sense Arte Povera was a movement away from what can be seen as a dry and cerebral approach to artistic practice and theorising according to the artist Craig