以後現代解構觀點初探István Orosz之視覺創作風格

匈牙利設計師Istvan Orosz是在國際上受到不少獎項肯定的創作者。其風格獨具的平面設計、海報、動畫電影等作品在一些專門領域競賽如拉赫蒂兩年一度國際海報金獎、華沙兩年一度國際海報特別獎、蕭蒙ICOGRADA國際海報展入圍、莫斯科兩年一度國際海報金蜂獎皆有卓越表現。Istvan Orosz擅常運用幻覺概念以透視法及光學錯視的技巧；輔以如木雕及蝕刻等深具傳統文化特色的繪畫技巧表現在海報和插圖的作品上。深具相關類型創作者研究的價值。本研究過程以Orosz1974到2002年間發表的作品作為研究，透過「後現代解構」的一些相關觀點，採用哈山的理論與德希達的「延異」、「嫁接」概念，作為深入了解作品特質的依據，並進一步探討作品內外在的創作想法與形式並從中予以適切的分析歸納出以下六點Orosz作品的特色：1.混雜物件造成「雙關」圖像；2.意識裡破壞與「強迫性」組合；3.關係法則或重複性元素4.擅改三度空間的結構5.邏輯推理和實驗觀察6.廣告幽默圖像的轉喻、隱喻。

關鍵字

後現代解構； István Orosz ； Istvan Orosz ；視覺創作

並列摘要

Hungarian designer, István Orosz is a creator who has gotten many awards internationaliy. The unique style works of graphic design, poster and animated film in the specialized competition fields such as First prize at the international poster biennial in the Lahti, special prize at the international poster biennial in the Warsaw, ICOGRADA-prize at the international poster show in the Chaumont, Golden Bee-prize at the international poster biennial in the Moscow has several remarkable manifestations. István Orosz always uses illusionistic concepts. To express tricks of perspective, the skills of optical illusion. In addition, he often uses traditional printing techniques of characteristic culture such as woodcutting and etching to combine with posters and illustrations which has research studying values for the related creators.The study process researches Orosz's works a t the 1974s to 2002s through several of related viewpoints of Deconstruction of Postmodernism, that uses the Ihab Hassan's theories and Jacques Derrida's concepts of defférance, graft as a basis for understanding work natures and explores work springboards of inner, outer creation idea, form to next one step which has appropriate analysis and critique in the process. So I compress six points as follows which is the key feature of Orosz's work: First of all, mixed objects result in a ”pun” image. Secondly, destruction among his consciousness and his ”forced” combination. Thirdly, he uses relationship laws or repetitive elements. Fourthly, he often transforms structures of three-dimensional space. Fifthly, he uses logical reasoning and experimental observations. And lastly, his humor images of advertising draws on techniques of metonymy and metaphor.