John Stezaker's work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ?readymades?. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.In his Marriage series, Stezaker focuses on the concept of portraiture, both as art historical genre and public identity. Using publicity shots of classic film stars, Stezaker splices and overlaps famous faces, creating hybrid ?icons? that dissociate the familiar to create sensations of the uncanny. Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.In using stylistic images from Hollywood's golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ?artefacts? of an obsolete culture. Similar to the photos of ?primitivism? published in George Bataille's Documents, Stezaker's portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.

Stezaker's simple yet disconcerting modifications toy with the subconscious and the surreal. His permutations produce a 'moment of revelation within the universal blindness that the consumption of images has become: a glimmer of consciousness within the unconsciousness of image reception'* In 'Blind', one incision monstrously removes the eyes of the subject completely. The 'Masks' continue Stezaker's ongoing interest with the hidden face. Found postcard images obscure and replace the subject's physiognomy, leaving a 'surround' of hair, neck and clothes.Playing with ideas of cubism and caricature, Stezaker's series of black and white portraits fuse male and female faces, reflecting the idea of marriage and hybrid symmetry, but also a discord of union. Perhaps the most subtle of found image alterations are the 'Reclined' series; a portrait of a standing woman is simply rotated ninety degrees and presented as a horizontal image to beautiful and unsettling effect.