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There are a lot of people, but even more faces, because everyone has several.*
The procedure seems simple: the scalpel cuts a part out of one image and inserts it into another in such a way that it fits perfectly into the composition. For decades, John Stezaker has been deconstructing the mass media-generated glamour of 1940s and 1950s Hollywood film stars in his photo collages, merging disparate elements and assembling image layers into surreal hybrids that alienate the seemingly familiar. Sections are changed, rotated, layers penetrate each other, images are positioned above and next to each other.
A collage’s actual meaning, however, arises in-between a particular cut, when identities merge into new characters without negating their difference. Male and female film stars become one, landscape postcards cover faces like masks, or the eyes of a mannequin replace the human gaze preserved in the photo. The disruptive intervention in the photography,...More
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Press Release
There are a lot of people, but even more faces, because everyone has several.*
The procedure seems simple: the scalpel cuts a part out of one image and inserts it into another in such a way that it fits perfectly into the composition. For decades, John Stezaker has been deconstructing the mass media-generated glamour of 1940s and 1950s Hollywood film stars in his photo collages, merging disparate elements and assembling image layers into surreal hybrids that alienate the seemingly familiar. Sections are changed, rotated, layers penetrate each other, images are positioned above and next to each other.
A collage’s actual meaning, however, arises in-between a particular cut, when identities merge into new characters without negating their difference. Male and female film stars become one, landscape postcards cover faces like masks, or the eyes of a mannequin replace the human gaze preserved in the photo. The disruptive intervention in the photography,...More
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More Exhibitions at EXILE
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