Mirko Smerdel seeks to expose the uncanny and hallucinatory elements of our image-saturated culture. Though difficult to categorize, Smerdel’s work can be loosely understood as collage. Often collaborating with other image-makers, he works with found photographs, usually in the form of vintage photograms and archival video. He alters these images, combining dissonant elements to imbue documentary objects with political meaning. Through this recontextualization, he exploits the viewer’s tendency to interpret photographic images as truth. Smerdel delights in combining text and image, frequently bringing together unexpected elements such as George Romero zombie films and old commercials or John Berger quotes and images taken from the possession of a serial killer. Occasionally disorienting and frequently haunting, these images blur the line between fact and fiction, exploiting collective memory to inspire “new distance between image and observer,” he says.