“..exposing the mystique of the visual…
He suspected that his territory was the collective fascination with image itself rather than the conceptual urge to undermine that fascination.
Collage not photomontage
…film stills from the middle of the 20th century – images he culled from defunct cinemas and picture agencies that were then going out of business. (Stezaker once bought the entire contents of one such establishment, although the prints are now so precious and rare that he cannot bring himself to make work out of them.) “
Brian Dillon, The Guardian, 2011