This process of detaching the poster from its place of origin takes the fortunate name of decollage. 
This is the reverse process of collage, instead of adding material – the artist removes material, producing some tears in the poster. In Petrucci Pasquale’s decollage it is not the artist who tears off part of the advertising poster but the atmospheric conditions aided by the wear and tear of time. The artist tries to identify the expressive value that emerges from an overlapping of tears. Essentially they are photographs of advertising posters destroyed by the weather that involuntarily compose incomprehensible indications from an advertising point of view but a real aesthetic iconography is highlighted that anagraphically belongs to the urban landscape. The torn posters that contribute to completing the visual history of the urban territory to which they belong have been taken back in their natural location that appears to belong to our daily life of a contemporary realism. The entire operational cycle has been enriched with an operational methodology in itinere through the search for positive expressive reliefs. 
The photographic chronicle develops through the alleys of the city or in proximity to spaces isolated from the city center.
