The photo emulsions "In mostra" [1973 circa (1972)], "Introspezione aperta" (1972), "Les joyeuses prostituées" and "L’amplesso" (both 1975) are based on the combination of erotic images. Gathered from a variety of sources, they encompass magazine clippings depicting advertising as well as the lifestyle of celebrities, as well as the photographs of Rotella’s own works. The subject of these works is a materialisation on canvas of the aesthetics of desire filtered through the male gaze: indeed only the women portrayed are in the nude or skimpily clothed. They reveal the interest of Rotella himself to document the often sexually charged performative gatherings (Happening-vérité as he defined them) he regularly hosted in his studio and at home.
In "L’amplesso" the image portrays a naked couple kissing, the faces and therefore, the identities of both sitters almost entirely blurred. The focus is instead on the bodies: the presentation of their muscles as they are sculpted by light and shadow, the twisting of their bodies and the male’s hand on the woman’s hip are suggestive of a modern reiteration of “The Kiss” (1901-1904) by Auguste Rodin. The sculptural element of the composition is also highlighted by the staging of the models, as their lovemaking takes place on two plinths.