Attr. Mimmo Domenico Rotella (Italy, 1918 - 2006) "Yes" De collage and psychogeographics, made from advertising posters. Signed on front and back. Provenance: Private Florida Estate. Sight Size: 27 x 22 inches.It can quite justly be claimed that Rotella is the godfather of what is now known as the Paste-up; he was an artist who used the streets of post-fascist Rome as his canvas. Highly influenced by the style icons of of Cinecitti he utilized torn sections of advertising posters he found stuck to the walls to construct incredibly dense layered images. By pasting partial image upon partial image Rotella created modern urban palimpsests; his entirely fabricated pop art amalgams, a combination of a multitude of different signs, products and films blend to create a coherent message out of a chaos of images. At the beginning of the 1970's, he carried out a number of works by directly acting on the advertising pages of magazines with the use of solvents, reducing these either to the state of the imprint (frottage) or quite simply cancelling them (effaçage). Two years later, in 1972, he published an audacious autobiography titled "Autorotella". The "Plastiforme" were created in 1975: ripped posters placed on a polyurethane support with the intention of giving them tridimensionality. In the same year he recorded his first Italian LP of phonetic poems, presented by Alfredo Todisco. In 1976, he took part in the International Recital of Sound Poetry - Poetry Action at the Atelier Annick Le Moine. Another experimentation carried out in those years was that of rolling up posters and closing them in plexiglass cubes. On having left Paris in order to set up home and studio in Milan (1980), during the 1980's he elaborated his "Blanks" or coperture d'affiches : zeroed advertising posters covered with white sheets of paper - as happens for posters that are replaced or have finished their billboard lease - following a conceptual operation. 1984 saw him once again using brushes and acrylic colours in order to create the second cycle of works dedicated to the cinema: Cinecittà 2.He then created his sovrapitture (overpaintings), inspired by the up-to-date theme of graffiti, pictorially intervening on the advertising posters that were torn and then glued on canvas (and from 1987 also ripped posters glued on a support of sheet metal). He drew anonymous writings, like the ones it is possible to read on city walls: signs, love notes and political slogans/epithets in a double message. In 1990 he took part in the "Art et Pub" exhibition held at the Centre Pompidou in Paris and in the "High and Low" exhibition held in New York at the Museum of Modern Art. In 1994 he was invited to take part in "Italian Metamorphosis" held at the Guggenheim Museum in New York. In 1996 he took part in "Face ... l'Histoire" at the Centre Pompidou and in the exhibition entitled "Halls of Mirrors" held at the Museum of Contemporary Art in Los Angeles (an exhibition that was to tour the world, Rome included). 1996 also saw the Internet inauguration of a one-man exhibition which was diffused online - the first event of its kind in Italy.