What always struck me about Winston’s work is his ability to make a profound comment purely by reshuffling found images in a way that is both humorous and pointed. Winston’s recent work is more beautiful than ever making his visual puns that are harsh indictments of the American Dream as an ideal even more jarring.

I’ve never lucked into this sort of relationship with any other artist. Lurking within you’ll find both razor sharp editorial commentary and more surreal montages proving what’s creatively tasteless is truly what is timeless. It is the outside influence that shows us ourselves.

I lusted for Winston Smith’s art for my book the moment I saw a compendium of his stuff. He copied the murals off the interior of the psycho-commercial skull of the American Nightmare. He can construct on one page what it takes me a whole chapter to write.

Winston Smith’s collage art is a cutting sociopolitical commentary on the late 20th Century. Irreverent in style, each unique piece is bursting with color and kinetic ideas.

Winston Smith, in an overt; life-long act of political and artistic irony, takes the wet-dream inducing icons of America’s Industrial Military golden age and turns them on their head, using their inherent Social Realist propaganda stylings to spread the ideology of the extreme deep Left. Perhaps the most vibrant collage maestro since Max Ernst and single-handedly responsible for an entire generation’s graphic style, Winston continues to stomp the upturned face of The Man, endlessly.

That Winston Smith is producing first-rate work in the difficult, maligned medium of collage/montage, and is even becoming recognized outside the narrow punk subculture which has long embraced him, is a tribute to the doggedness with which he has pursued his singularly surreal vision of the universe.

Winston wields his scalpel with razor-sharp accuracy, conducting open heart surgery on a heartless society.

Mr. Smith’s brilliant, mind-bendingly psychedelic cut and pastings make my head spin, my stomach churn, and my heart grow hear (and that’s a good thing).

If there were a job title called ‘Master of the Confluence of Parallel Realities,’ Winston Smith would fit the bill. Each piece of his work is a ‘samizdat’ substitute that is plausible outside of its own context. He butters his bread on three sides every day and twice on Sundays.

Winston Smith crafts and creates new worlds from an attention-commanding, somehow hypnotic synthesis of selected images from America’s priceless, almost unknown graphic heritage. His sly and sardonic work breathes with the presence of the past and the evolved future waiting to be born.

It is impossible to pin down who’s the ‘best’ collage artist in the universe, but Winston Smith would certainly leap to mind (and then blow that mind repeatedly). Most of his images are like a punch in the face. It’s high time Smith became a rich, famous artist rather than the best-kept secret of the underground.

Winston Smith vivisects cultural disasters and political atrocities with the sure hand of a master Thought Criminal.

Winston Smith’s incredible collages stand as a constant reminder of hypocrisy in the democracy. His razor wit and visual wisdom puts the ‘United Snakes of America’ in their proper place – nailed to the wall, exposed for all to see. Thanks to Winston’s patriot acts this country’s a safer place.

Following that time-tested Dadaist tradition of montage, collage and random image appropriation, Winston Smith takes this medium one step further than his precurssors, Max Ernst and Marcel Duchamp.

From Kurt Schwitter’s “merz” to Heartfield’s photo-montage warnings of global fascism, Winston Smith’s use of pop magazine images keeps in sharp focus the ever encroaching apocalyptic nightmare.

He’s the gatekeeper to the phantasmagoric realms.

Winston Smith is a national treasure. Smith possesses a dry, savage wit, meticulous balance between earnestness and irony and a laser-sharp eye for the follies of American society and politics. A consummate perfectionist, he’s political art’s best-kept secret.

Winston Smith has always stormed the Citadel of the Iimage Police. Like William Burroughs’ cut-ups, he cuts through tradition and clichéd lines of association to create new thoughts ultimately aimed at the destruction of all authoritarian false consciousness.

Master collage artist Winston Smith snips glorious and terrible tree flesh from the magazines of our mind and pastes it. A mind is a terrible thing to paste. And Glorious!