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Turkish to English: The Effect of Dadaism on Today's Modern Poster Art General field: Art/Literary
Source text - Turkish Salvador Dali
Bir onceki yazimda, Surrealismin “second phase” kismini olusturan sanatcilari “illusionist”. “dream painters” ve “image makers” olarak tanimlandigini belirtmis, Magritte’nin calismalarini bu cervede gunumuz modern poster sanatcilarin calismalariyla karsilastirmistim. Bu analizlerimde, iki farkli sanat alanindaki ortak iliskilere dikkat cekerek, dolayli ve dolaysiz gorsel benzerlikleri incelemis, kullanilan gorsel dili tanimlamaya calismistim. Bu bolumde ise, Surrealism’in diger bir onemli sanatcisi Salvador Dali’nin calismalarini modern poster sanatcilari Franciszek Starowieyski ve Istvan Orosz’in posterleriyle karsilastirarak, arada ki benzerlikleri incelemek isterim. Bu incelemede ortaya cikan yontem benzerlikleri, modern poster sanatinin, Surrealim ile olan iliskisine isik tutacaktir.
Jamina Montagu, Surrealism’in “second phase” doneminde, 1929 yillarinda, Dali’nin bu akima aktif olarak katilmasiyla, “a burst of new energy” olusturdugunu belirtir. Yazar, Dali’nin calismalarinda kendi, sahsi “internal dilemmas and anxieties” yansittigini belirtirken, Max Gerard’da, bu yansimalarin “obsessions, dreams, paranoia, delirium…” gibi psikolosik yonlerde gerceklestigini ifade eder. George Hugnet’da Dali’nin calismalarina yansittigi pisikolojik ozelliklerin “irrational confusion”, “hallucination”, “the bizarre”, “dream” ve “delirium” oldugunu belirtir. Robert Descharnes ise bu psikolojik yansimalarin yontem seklini soyle tanimlar “creating unity in the canvas by the juxtaposition of objects bearing no relation in on environment where they did not belong.” Yukaridaki alintilara dayanarak Dali’nin sahsi duygu ve dusuncelerini calismalarina yansittigi gibi, cevresinde bulunan onemli yakinlarinin, Gala gibi, calismalarinda kullandigini iddia edebiliriz. Nihayet Dali, kendi figurunu ve esi Gala’yi calismalarinda sik sik kullanmistir. Dali’nin bu tarz calismalarini soyle siralayabiliriz: “Crufixion, 1953-54”, “Soft Self-Portrait with Fried Bacon, 1945”, “The Great Masturbator, 1929” . “Self-Portrait in Impressions of Africa, 1938” ve “Dali from the Back Painting Gala from the Back Eternalized by six Virtual Corneas Provisionally Reflected in Six Real Mirrors, 1972-73”
Dawn Ades, Dali’nin sadece “painter” olarak calismalar uretmedigini, sanatcinin ayni zamanda “writer, poet, theorist, print-maker, photographer, editor, sculptor, filmmaker, inventor of objects, theater designer and installer of exhibitions.” gibi alanlardada urunler yarattigini belirtir. Dali calismalarinda ozellikle “War, the landscape, Gala, still life, Eroticism, Mysticism, space-time, onerous and imperial-classicism.” gibi konulari on plana cikarmistir. Ades, Dali’nin bir cok alanlardaki uretkenligine ragmen, sanatcinin surrealism icindeki konumunu “one of the most controversy” seklinde oldugunu belirtirken, bunun nedenini “he was inauthentic, cold, obscure and immoral” seklinde aciklar. Hal Foster Dali’nin calismalarindaki obje ve figurlerinin fiziksel gorunumlerini “fantatized cannibalistic” ve “destroyed, assimilated”seklinde oldugunu belirtir.
Nasil bir yontem ve yaklasim, Dali’nin calismalarini “destroyed” ve “fantatized cannibalistic” gorunum saglamistir? Dali calismalarindaki imgeleri farkli ve ruyasal kilan ozellikler, “collage” yontemin bir ozelligi olarak dusunebiliriz. Nihayet Addie Wolfram, bu dusuncemi soyle desteklemektedir
“From 1930 onwards Dali rarely used collage, but the principle of collage automatic conception, the irrational juxtapositioning of subject matter and its resulting metamorphic possibilities, where are reality through hallucination becomes another, is fundamental to the realization of the ‘paranoiac’ immaculate paintings of Dali.”
Dali gibi diger bagzi surrealistlerde, mesela Magritte, collage yontemiyle yagliboya calismalarinda beklenmedik, supriz ve gercekdisi (irrational) calismalar uretmisti. Bu sayfalarimizda ozellikle Dali’nin surrealism icinde gelistirdigi ve bir cok calismasinda yansittigi “paranoiac-critical” yontemini inceleyerek, Itsvan orisz’un posterleriyle karsilastirmak isterim.
Conroy Maddox, Dali’nin surrealism icinde gelistirdigi “paranoiac-critical” yontemini “the most revolutionary contributions” oldugunu iddia eder. Dali uzerine bir cok yazilara ve kitaplara sahip Dawn Ades, Jamima Montaga ve Giles Neret gibi sanat tarihcileride, “paranoiac-critical” yontemin ozelde Dalinin calismalarinda geneldede Surrealism icinde onemli oldugunda hemfikirlerdir. Dali “paranoiac-critical” yontemin, “a spontaneous method of irrational knowledge based upon the critical-interpretive association of delirious phenomena.” seklinde tanimlar. Bu durumda Dali, realist obje ve figurleri, kendi yasam felsefesi icinde degerlendirerek calismalarinda “irrational” ve “dream” tarzi dunyalar olusturdugunu veya illustre ettigini soyleyebiliriz. Jean-Louis Gaillemin bu dusuncemi destekleyerek, Dalinin realiteyi belirsizlestirdigini soyle belirtir “he [Dali] declared that the artist’s role was to systematize the confusion of the real by imposing his individual truth.” Dali, “paranoiac-critical” yontemine verdigi gorsel ornek calismasinda, “Communication: Visage Paranoiaqu, 1931, (attached image) Afrikadaki bir yerli koyunde cekilen fotografi, isik golge ve diger resim ogeleri ile bilincli olarak insan portresine donusturmustur. Paul Moorhouse, Dalin’nin bu fotografi bir dergide kaza sonucu gordugunu ifade ederek, sanatcinin bu calismaya bilincli “intervention” yaptigini belirtir. Bu calismada en alt yatay (horizantal) karesinde on (10) kadar yerli figur, sazlik ve diger orman urunlerinde yaptiklari bir kulubenin onunde oturmus sekilde gorulmektedir. Dali, ayni fotografi bu kez sol ust kisma dusey (vertical) olarak yerlestirmistir. Nihayet sanatci ucuncu (3) karesinde bu kez ayni imgedeki figur ve manzarayi isik ve golge ogeleri ile belli-belirsiz bir insan portresine donusturmustur. Ozellikle bu imgedeki insan ve kulube fugurleri, tam net gorunmeyen (obscure) insan portresiyle iliskilendirilmistir. Dali bu calismadaki temel yaklasimi soyle ozetlemek mumkundur: Sanatci realist figur ve objelerin bulundugu bir gorsel imgeyi, bilincli olarak bir baska figure donusturmustur. Dali sanat yasami surecinde bu tarz bir cok calisma uretmistir. Bu calismalari “The Image Disappears, 1935”, “Apparition of Face and Fruit-Dish on a Beach, 1938”, “Disappearing Bust of Voltaire, 1941”, “The great Paranoiac, 1936” and “ Mae West, 1934-35” seklinde siralamak mumkundur. Dali’nin “The Image Disappears, 1938” calismasi (attached image) “paranoiac-critical” yontemini en iyi gosteren orneklerden biridir. Bu calismada ilk gorulen imge, elinde kitap veya kagit yapragi tutan veya okuyan bir kiz veya kadin figurun varligidir. Bu figurun sol kisimda bir perde ve karsi duvara asilmis bir harita ve siyah-beyaz bir yer zeminin olmasi dikkat ceken unsurlardir. Bu calismada guclu isik-golge uygulamalarinin varligi yine fark edebilecegimiz bir diger ozelliktir. Fakat bu figurun gorsellik algilamasinin belli bir sure, kisilerin algilamasina bagli olarak, degistigini fark ediyoruz. Bu genc kadin figuru ayni zamanda bir erkek portresinin bir parcasi oldugunu fark ediyoruz. Buna gore kiz’in bas kismi, portrenin gozunu, yine kiz’in ust kol kismi, portrenin burun kismini olusturmaktadir. Ayrica kiz figurunun kol ve elinde tuttugu objesi bu portrenin biyik kismini, kiz’in alt kismini olusturan elbisesi ise erkek portrenin goat (top) sakalini olusturmaktadir. Resimdeki harita ve yer zeminin siyah-beyaz olusu, portrenin olusumun disinda tutulmus diger ayritilardir.
Ades, yukarida tanimladigimiz ve belirsizce gorulen erkek portresinin “Valazquez” olabilecegini ifade eder, Yazar, yukaridaki kiz figurunun bir baska klasik ressam olan Vermer’s “Young Woman Reading a Letter at an Open Window” calismasindaki figuru animsattigini belirtir. Ades, ayrica, yukarida inceledigimiz calismadaki harita ve perde’nn yine Vermer’in diger calismalarinda gorulen objeler olabilecegini iddia eder. Bu durumda Dali’nin, Valazquez ve Vermer’ gibi klasik ressamlarin calismalarindaki imge ve figurleri kendi “paranoiac-critical” yonteminde bulusturdugunu dusunebiliz. Nihayet, Ades Vermer’in calismalarinin, Dali icin “paranoiac” bir tutku olusturdugunu belirtir. Dali’nin yukaridaki calismasindaki “paranoiac” yaklasim, bir figurunun ayni zamanda bir baska figuru cagristirdigidir. Moorhouse bu durumu “referred to the hallucinatory power to look at any object and “see” another.”seklinde aciklar. J. Richard Block bu tur “double image” calismalarin ”ambigious” olmasinin nedenini, imgedeki “figure-ground illusions” in sonucu oldugunu iddia eder. Al Seckel, Dali’nin “paranoiac-critical” yontemini “optical tricks” ve “hidden imagery” isimlendiriken bu tur cift (double) gorunumlu imgelerin “visual surprise and discovery” etkisi olusturdugu ve genel halk icin eglenceli bir gorsel unsure tasidigini ima eder.
Dali bir diger calismasindada, “The Great Paranoiac, 1936”, (attached image) insan figurlerin formlari ile oynayarak bir baska insan portresinin yuzunu olusturmaktadir. Paul Moorhouse comleks gorunuen bu imgeyi soyle tanimlar
Set in a desert landscape, a group of figures writhe grotesquely; the woman in the foreground clasps her head in her hands, others gesticulate and recoil from some invisible apparition. Without any of these figures being modified it is possible to perceive, in their gesture and movements, the appearance of an enormous head. In the distant group of figures the phenomenon is repeated.
Moorhouse, yukarida tanimlanan calismayi Leonarda da Vinci’nin “Treatise on Panting” isimli calismayla iliskilendirirken, A Reynolds Morse’da ayni calismayi “Archimboldo” ya “reference” edebilecegini su sekilde belirtir “With the conceit of Archimboldo many variations and configurations are possible.” Dali’nin “paranoiac-critical” calismalarindaki “double images” uygulanis olarak Archimboldo ile ayni parelelde olmasina ragmen, her iki sanatcinin bu calismalari yapma amaci farklilik arz eder. Dali calismalarindaki imgeler arasindaki “illusionistic” ve “irrational” belirsizligi kendi sahsi compleks ve bilincaltinin bir yansimasi seklinde bilimsellik bir ozellikle ele almistir. Nihayet Morse Dali’nin “double images” turu calismalari, sanatcinin “subcouncious” ile su sekilde iliskilendirir
Using Dali’s hallucinatory process of anecdotal antropomorphism only one illusion can emerge. Should any figure move the true Dalinian subconscious perception of the double image is immediately destroyed, and only warring horsemen will remain.
Michael O’Pray, Archimboldo’nun calismalarindaki insan figurlerin olusumunu “trees, vegetables and flower” gibi obje ve bitkileri bir araya getirmek suretiyle (composite) olusturulduguna dikkat cekerken, bu figurlerin donemin kral ve cevresindeki kisilerin portresi oldugunu iddia eder. Yazar, ayrica Archimboldo’nun kullandigi yontemi “mannerism” ile iliskilendirerek bu yontemin en temel ozelligini “a form of montage or editing” oldugunu ifade eder.
Daha onceki analizimizdede Dali’nin mantik-disi (irrational) ve belirsiz (obscure) calismalarininda temel yaklasiminin “collage prencible” oldugunu belirtmistik. Bu durumda Dali’nin “paranoiac-critical” yontemi ile olusturdugu “subcoincious” calismalarinin Archimboldo’nun “mannerist” calismalari ile ayni parelelikde oldugunu iddia edebiliriz. Nihayet Gaillewin, Dali’nin “double image” calismalarini Archimboldo ile iliskilendirerek soyle bir iddiada bulunur, paranoiac-critic “had become nothing more than a justification and label for Manneristic imagery.”
Bu baglamda Jean Marcel Dali’nin “paranoiac-critic” calisma yonteminin “creative method” oldugunu ve dolayisiyla bu calismalarda “meaning of forcing inspiration” bulundugunu iddia eder. Buna gore Dali’nin The Great Paranoiac calismasindaki kucuk olcekli sembolik insan figurler ile, bu figurlerin olusturdugu belirsiz insan portresi arasinda sembolik anlamlar cikarmak mumkun olabilir. Mesela The Great Paranoiac isimli calismada on planda bulunan kadin ve erkek figurleri elleri ile baslarini tutmakta oldugu gorulmektedir. On ve arka planda kalan figurlerin one dogru egilmeleri ve yuzlerini saklamalari, bir tur aglayis (crying) veya uzuntu icinde oldugu seklinde dusunebilinir. Bu insanlarin uzuntuye sebeb olmalari veya aglamalari, olusturduklari insan portresi ile iliskilendirebilinir. Belirsiz insan portresi, aylayan insan figurlerin onderi olabilecegi gibi, aci ve siddet veren bir insan da olabilir. Dali’nin bu calismasi birden farkli yorumlara sahip olabilir. Sanatcinin bu calismanin anlamsal olarak farklilasmasinin nedeni, calismanin “puzzle picture” veya “optical puzzle” surecinde olmasidir. Dali’nin calismalarindaki obje ve figurlerin farkli anlamlar kazanmasi, bulunduklari form ve gorunumlerinden uzaklastirilip, “irrational” ve “illusionistic” bir gorsellige donusturuldugunu dusunebiliriz.
Archimboldo “composite” yontemi ile olsturdugu insan portreleri, 20th yuzyilda Surrealit Dali’nin calismalarinda psikolojik bir anlatimlara dondugunu belirtmistik. Bu sayfalarimizda, Dali ve Archimboldo’nun calismalarinda gordugumuz “puzzle” ve “irrational” imgeleri, gunumuz modern poster sanatcisi Istvan Orosz’un poster calismalarindaki benzer illustrasyonlari ile karsilastirarak, aradaki parelel iliskileri analiz etmek isterim.
Istvan Orosz
Istvan Orosz egitimini “graphic designer” olarak Budapest’dede, Hungary, tamamladiktan sonra, is yasaminda ozellikle “theater stage design and animated films, as well as in the design of theather, movie and exhibition posters” tarzi calismalar uretti. Marta Sylvestrova, Orosz’un ozellikle poster calismalarindaki illustrasyonlarini “a personal mystique of irrationally beautiful visual illusions” olarak tanimlayarak soyle devam eder
The mysterious world of illusions in Orosz' pictures draws you into a perfect world, the irrational construction of which is hidden behind the aesthetics of the imagination and the lyricism of forgotten beauty.
Shigeo Fukuda, an Japanese graphic designer, Orosz’un calismalarindaki illustrayonlari “trompe l’oeil (trick the eye) hidden images” olarak isimlendirirken, bu calismalardaki onemli ozelligi “illusionary quality and novel ideas” seklinde aciklar. Orosz’un bagzi poster calismalarindaki “illusion” tarzi obje veya figurler belli-belirsiz gorsel ozelliklere sahiptir. Sanatcinin calismalarindaki imgelerin konumu, ilk bakista, net olmamasindan dolayi izleyicide bir sorgulama ve anlama surecini olusturmaktadir. Nihayet Gyorgy Haiman, a professor Emeritus of the Hungarian Acedemy of Crafts and Design, Orosz’un poster illustrasyonlarinin herseyi sorguladigi ve bu illustrasyonlarin yontem bicimini “the Archimboldo effect” e sahip oldugunu belirtir.
Orosz, yaptigim gorusmede, calismalarinin en onemli ozelligini soyle ozetlemistir “in my work there are hidden things and there are double entendres and illusions and paradoxes.” . Orosz’un bagzi poster imgelerinde kullandigi obje ve figurlerin kullanim yontem ve dili, Dali’nin “paranoiac-critic” yonteminde oldugu gibi “paradox and illusionistic” ozelligi tasidigini iddia edebiliriz. Dali’nin calismalarinda kullandigi teknik yagliboya (painting) iken, Orosz, calismalarinda 19th yuzyilda yaygin olarak kullanilan “woodcutting and engraving” teknigini kullanmaktadir. Orosz’un “illusionistic” ve ayni zamanda sasirtici “irrational” imgeleri poster calismalarinda kullanmasinin nedenini, “The poster should attack the eye” seklinde aciklar. Poster sanatinda sik sik kullanilan “shock” efecktleri izleyicinin dikkatini cektigini onceki analizlerimizden, ozellikle Klimowski’nin calismalarindaki supriz ve “irrational” imgeler cercevesinde incelemistik. Bu kez Orosz izleyicinin dikkatini “illusion” ve “puzzle” yontemi ile gerceklestirmektedir.
E. H. Gombich, etkili posterin “illusion” ve “puzzle” ile iliskisini soyle aciklar
A few clues presented with sufficient boldness and clarity will make us find the solution of the puzzle which the image presents to us…The character of the illusion is hard to describe and may vary from person to person. But if it did not exist to amuse and intrigue us, posters of this kind would scarcely be so popular.
Illisionistic and obcure images “challenge the passer-by to stop and think” . Orosz ve Dali’nin calismalarindaki “illusion” ve “puzzle” tarzi yaklasimlari “…the absurd, the incompatible, the fantastic, and the Surrealistic” seklinde tanimlamak mumkundur.
Margeret Moore, Orosz’un posterlerindeki “surreal, illusionistic” posterlerini Dali’nin calismalari ile iliskilendirerek, Orosz bu tarz surreal illustrasyonlara ilgisinin nedenini soyle aciklar;
Like many Eastren European artists under communism, Orosz learned early the art subtle misdirection and hidden messages: There would be a second image hidden in the first, and the public always understood the read between the lines and see behind the picture.
Orosz’da, onceki sayfalarimizda calismalarini inceledigimiz Rafal Olbinski gibi, ulkesindeki komunist sureci icinde fikir, umut ve dusuncelerini anlatmak icin mantic disi ve belirsiz (obscure) sembolik imgeleri posterlerinde kullanma yolunu sectigini dusunebiliriz. Robert Lord, Orosz’un “surreal, illusionistic” posterlerindeki imgelerin vermis oldugu etkilerin, izleyiciyi “reality and hallucination, wakefulness and dreaming” arasinda bir konuma surukledigi ve dolayisiyla poster imgelerin canliligini surdurdugunu ima eder. Orosz’un posterlerinde var olan akil disi (irrational) ve sacma (absurd) gorsel calismalarini soyle orneklmek mumkundur: “Ziska, 1978”, “Fiatal Magyar, 1988”, “Columbus, 1993”, “Air, 1992”, “And the heroes are Returning Home, 1991”, “Blood Brothers, 1993”, “The Death of Salesman” and “Book Week Festival, 1994”
Orosz’un 1999 yilinda yapmis oldugu ve ayni zamanda,Victoria and Albert Museum’un poster yarismasinda odul alan “Portrait of Shakespeare” (image attached) isimli calismasini, Dali’nin “poranoiac-critical” yontemiyle karsilastirarak, parelel iliskileri incelemek isterim.
Ozellikle kirmizi, sari ve yesil renklerin hakim oldugu bu calismada, Shakespeare oldugunu dusundugum bir insan portresi resmedilmistir. Bu calismayi ilginc, mantic disi, sacma ve surrealistic yapan unsur, Shakespeare figurunun bas kismini olusturan iki calgicinin (music players) varligidir. Portrenin bas kismini olusturan her iki calgicinin ellerindeki calgi aletleri, portrenin gozlerini olustururken, soldaki figurun sol ayagi, Shakespeare’in dudak ve biyik kismi olarak yerini almisti. Her iki calgicinin geleneksel sapkalari ve giymis olduklari elbiselerin formleri yine Shakespare’in portresinin bas kismini olusturmaktadir. Orosz, portrenin govde kismini ise yesil ve kirmizi renklerle tamamlamistir. Al Seckel, bu posterdeki iki calgici ile Shakespeare portresi arasindaki iliskiyi soyle tanimlar: “the use of the two theatrical musicians to create Shakespeare’s face says much about Shakespeare as a creature of the theater.” Bu durumda Orosz, Shakespear portresi ile bu portreyi olusturan iki tiyatro calgici arasinda anlamsal (conceptual) bir iliski olustudugunu dusunebiliriz. Orosz’un illustrasyonundaki calgicilar ile Shakespear arasindaki “playfulness” ve “juxtaposition” yontemi, “illusioistic”etkisi vermede temel etkenler oldugunu iddia edebiliriz. Orosz’un bu posterindeki Shakespear portresi, Dali’nin daha once inceledigimiz The Great Paranoiac ve The Image Dissapear isimli calismalarindaki portreler arasinda benzerlikler iliski olusturmaktadir. Dali’nin, The Great Paranoiac isimli calismasinda col (dessert) gibi bir mekanda 10’un uzerindeki insanlar gurubunun formlari ve fiziksel tavirlari buyuk bir insan portresini olusturmustu. Bu durum, Orosz’un Shakespeare portresini daha yalinlastirarak veya basitlestirerek, sadece iki insan figuru ile sinirlandirilmistir. Dali “paranoiac-critital” calismalari isik, golde, derinlik, ve 3 boyutluluk gibi klasik resim teknikleri ile gerceklesmisti. Ayrica Dali’nin bu “illusionictic” gorunumlu calismalari, yer-zemini (ground), renk, hacim ve imgelerin farkli olculerdeki kullanimlari ile olusmustu. Orosz’da calismasindaki bu “illusionistic” illustrasyonu, yine insan formlari, renk, yer-zemini ve nihayet figurlerin farkli olculeriyle oynayarak resmedilmistir. Yine Orosz’un calismalarindaki “particular combination of technical complexity and playful disregard for the conventional law of perspective and spatial relationship.” yaklasimlari Dali’nin calismalari icinde gecerli oldugunu soylebiliriz. Dali calismalarindaki insan formlari ile elde ettigi insan portreleri ile, manzara, yer ve zemin yonuyle, “contradiction and ambiquity” olusturuken, bu durum Orosz’un posteri icinde belli bir nokktaya kadar gecerlidir. Mesela Orosz’un iki tiyotro calgicisi, bulundugu zemin itibariyle, Shakespear’in elbise yakalari uzerinde illustre edilmistir ki bu durum bir an sacma ve sasirtici durum olusturmaktadir. Orosz ve Dali’nin calismalarindaki insan figurlerinin kendi formlarindan daha buyukce portreleri olusturmada, yaklasim ve sonuc itibariyle, ayni oldugunu soyleyebilirim. Fakat bu iki sanatcinin calismalari anlam ve maksat yonuyle farklilik’da olusturmaktadir. Mesela Dali’nin The Great Paranoiac isimli calismasindaki insanlar ve bu insanlarin formlarindan meydana gelen buyuk portre herhangi bir kisi veya gurubu temsil etmemektedir. Dali bu calisma ile kendi psikolojik yansimalarini diger bir deyisle “the critical-interpretive association of delirious phenomena.” surecini yansitmistir. Yani Dali, yukaridaki calismayi kisisellestirerek, kendi duygularini yansitmistir diye dusunebiliriz. Diger tarafda Orosz, posteri Shakespear sergisi icin bilincli olarak resimlemistir. Yani Orosz, kendi dusunce ve psikolojik yansimalarindan daha cok, disardan gelen bir durtu dogrultusunda (para amaciyla) calisma uretmistir. Buna gore sanatci, Shakespear portresinin olusumunu iki tiyotro calgici ile gerceklestirerek, Shakespear ile tiyotro oyunu arasinda manali anlamsal iliski kurmustur. Diger tarafta Dali calismalarindaki “illusion” yontemi, Orosz’un calismasindaki gibi, herhangi bir “concept” icinde manali anlama donusmemekde, belirsizligini surdurmektedir.
Orosz’un yine bir diger calismasi, “Mysterious Island, 1979,” (attached image) Dali’nin Surrealism icinde gelistirdigi “paranoiac-critical” yonteminin gunumuzde bir baska versiyonunu oldugunu iddia edebilirz. Jules Verne’nin “Mytrerious Island” isimli hikayesinin kapak ve poster imgesini olusturan bu calisma“etching” yontemi ile bir dairesel formun icine resmedilmistir. Bu calismanin alt kismina yerlestirilen “L’ille Mystrerieuse” yazinsal bilgisinin bulundugu kisimda, kayaliklar ve agacliklar arasinda gorulen iki kisilik bir yelkenli gemi gorunmektedir. Bu gorsellik algilamamiz calismayi 90’derece cevirdigimizde degismektedir. Bu kez tersden gorunen “Jules Verne” kisminda belli-belirisiz, jules verrne oldugunu dusundugumuz, bir portre gorunmektedir. Seckel bu calismayi “A portrait of Jules Verne is seen in this topsy-turvy illustration” seklinde tanimlamaktadir. Orosz bu calismasinda Jules Verne’nin portresini, kayaliklar, agaclar, ve yelkeniyle denizde yol alan iki insan figurunun formlari ile resimlemistir. Bu tur imgeler, sasirtici ve “illisionistic” ozelligiyle postere ilgiyi arttirdigini ve merakli kildigini dusunebiliriz. Posterdeki bu ilgi suphesiz, imgedeki belirsizligi cozme merakindan kaynaklanmaktadir. Bu belirsizlik, Jules Verne’nin portresi ile bu portreyi olusturan agac, kayalik ve yelkenleri ile yol alan insan formlari arasinda meydana gelmektedir. J. Richard Block, bu tarz imgelerin insana etkisini soyle aciklar “Once you see both interpretations, it is impossible to remain focused on just one. The other will keep popping into your consciousness.” Ayrica Block, Orosz’un yukaridaki calismasinda gorulen “topsy-turvy” tarzi etkiyi “illusions and visual oddities” olarak tanimlar.
Gerek Dali’nin calismalarinda gerekse Orosz’un modern poster calismalarinda olsun, “illusion” yontemini, oncelikle izleyici ve sanatci arasinda gorsel bir iletisim olarak dusunebiliriz. Dali ve Orosz’un calismalarindaki temel yaklasim, insan ve insan disi obje gibi sembolik figurlerle, bir baska figurun olusturulmasinda gozu yaniltici bir yontemin uygulanmasidir. Elde edilen “illusionistic” imgelerin kisilerde hayranlik etkisi uyandirmasinin nedenini, izleyecilerin gundelik yasamda alismis oldugu ve artik siradanlik olusturan obje ve figurlerin farkli bir sekilde sunulmasi olarak dusunebiliriz. Nihayet Richard Martin “Illusion” yontemini sanat icinde etkisini soyle aciklar “Seeking marvel and realizing dreams, the artists and designers of surrealism came to illusionism and to deceits of the eye as primary devices for both concealing and revealing the marvelous in mundane world.” Bu durumda, Dali “illusinism” ile kendi bilinc altindaki korku, umut, nese ve sevinc gibi uyanislarini yansittigini, Orosz ise poster calismasindaki Jules Verne imgesini merakli ve etkileyici hale donusturmek ve bu sekilde izleyicinin dikkatini cekmek icin “illusion” yontemini calismalarinda kullandigini iddia edebilriz. Orosz’un posterlerinde var olan “impossible” ve “confusion” durumlari, bir anlik’da olsun izleyicinin dikkatini cektigini ve bu sekilde amacina ulasabilecegini dusunmekteyim. Nihayet bir posteri amacini “to seduce, to exhort, to sell, to educate, to convince, to appeal” olarak tanimlanir. Diger taraf’da Bernard Champignealle’nin su poster tanimida yukaridaki alintimizi desteklemektedir “a poster…….must evoke surprise; it must shock the sensibilities and make and indelible impression on the memory” Poster sanatinin en onemli islevi izleyici ile iletisime girmektir. Dolayasiyla “illisonism” yonteminin olusturdugu supriz, sasirtici, belirsizlik, absurd ve olagan disi ozellikler bu sanat icin en onemli unsurlar oldugunu dusunebiliriz.
Dali’nin paranoiac-critical yonteminin temelini olusturan ve Orosz’da poster calismalarinda seyircinin dikkatini cekmek amaciyla kullandigi “illusion” tarzi calismalari “doubtful” ve “puzzle picture” olarakda tanimlamak mumkundur. Uwe M. Schneede “ambigious” imgeleri “reality” ve “illusion” ile olan iliskisini soyle aciklar “by combining or transforming real-looking elements into new, new improbable structures that have the character of probability because ther are executed with illusionist.” Schneede’nin “illusion” olarak tanimladigi Surrealist imgeleri, E. H. Gombrich “the trick picture” olarak adlandirarak soyle devam eder “the trick picture in which surrealist artist conjured up the ambiguities of dreams.” Bu durumda Dali’nin “paranoiac- ciritical” calismalarindaki “illusion” gorsel dili, sanatcinin psikolojisini, ruhsal yansimalarini, ruyalarini ve bilinc altinin yansimalari bir sonucu oldugunu iddia edebiliriz. Diger tarafta, Orosz “illision” yontemini poster sanatinda gorsel bir eglence, zevke, mizaha ve meraka donusturerek, izleyiciyle iletisime girdigini dusunebiliriz.
Translation - English Salvador Dali
In my previous essay, I defined the artists making up the “second phase” of Surrealism as “illusionists”, “dream painters” and “image makers” and in this respect, I compared Magritte’s works with those of the modern poster artists of the present. In these analyses, I attracted the attention to common relations in two different fields of art, analyzed direct and indirect similarities, and strived to define the visual language employed. In this section, however, I intend to compare the works of Salvador Dali, who is another leading artist of Surrealism, with the works of modern poster artists Franciszek Starowieyski and Istvan Orosz and analyse the similarities between them. The methodic similarities that will emerge during this analysis will shed light on modern poster art’s relationship with Surrealism.
Jamina Montagu states that during the “second phase” period of Surrealism, Dali’s active involvement in this movement in 1929 stirred “a burst of new energy”. The author points out that Dali reflected his own personal “internal dilemmas and anxieties”, whereas Max Gerard’s reflections appeared in psychological aspects such as “obsessions, dreams, paranoia, and delirium…” George Hugnet, on the other hand, mentions the psychological traits that Dali revealed in his works as “irrational confusion”, “hallucination”, “the bizarre”, “dream” and “delirium”. Robert Descharnes defines the methodology of these psychological reflections as, “creating unity in the canvas by the juxtaposition of objects bearing no relation on an environment where they did not belong.” Based on these quotations, we may well claim that, as well as revealing his personal feelings and opinions in his works, Dali used people close to him such as Gala in his works. Indeed, Dali frequently used his self-figure and his wife Gala’s figure. Such works of Dali included, “Crufixion, 1953-54”, “Soft Self-Portrait with Fried Bacon, 1945”, “Self-Portrait in Impressions of Africa, 1938” and “Dali from the Back Painting Gala from the Back Eternalized by six Virtual Corneas Provisionally Reflected in Six Real Mirrors, 1972-73”
In fact, Dawn Ades points out that Dali was not only a “painter” but also a “writer, poet, theorist, print-maker, photographer, editor, sculptor, filmmaker, inventor of objects, theater designer and installer of exhibitions.” In Dali’s works the themes of “War, the landscape, Gala, still life, Mysticism, space-time, onerous and imperial-classicism.” are especially in the foreground. Ades defines Dali’s position in Surrealism as “one of the most controversy”, despite his productivity in a number of aspects and he explains its cause as “he was inauthentic, cold, obscure and immoral”. Hal Foster describes the physical appearances of objects and figures in Dali’s works as “fantasized cannibalistic” and “destroyed, assimilated”.
What kind of a method and approach entitled Dali’s works with an appearance that can be defined as “destroyed” and “fantasized cannibalistic”? We may consider what renders the images in Dali’s works different and dreamy as an attribute of the method of “collage”. Indeed, Addie Wolfram supports this opinion of mine as follows:
“From 1930 onwards Dali rarely used collage, but the principle of collage automatic conception, the irrational juxtapositioning of subject matter and its resulting metamorphic possibilities, where reality through hallucination becomes another, are fundamentals to the realization of the ‘paranoiac’ immaculate paintings of Dali.”
Just like Dali, some other surrealists such as Magritte also produced unexpected, surprising and irrational works by using collage method in oil painting. In these pages, I particularly would like to analyze the “paranoiac-critical” method of Dali which he developed in Surrealism and frequently employed in a number of his works and I would like to compare these to Itsvan Orisz’s posters.
Conroy Maddox claims the “paranoiac-critical”,method which Dali developed in surrealism to be “the most revolutionary contributions.” Art historians such as Dawn Ades, Jamima Montaga and Giles Neret, who have a collection of articles and books on Dali, also agree on the importance of the “paranoiac-critical” method specifically for Dali’s works and in general for Surrealism. Dali defines “paranoiac-critical” method as “a spontaneous method of irrational knowledge based upon the critical-interpretive association of delirious phenomena.” . In this respect we may well say that Dali, assessing the realist objects and figures within his own life philosophy, formed or illustrated “irrational” and “dreamy” worlds. In support of my viewpoint, Jean-Louis Gaillemin states that Dali blurs the reality as follows: “He [Dali] declared that the artist’s role was to systematize the confusion of the real by imposing his individual truth.” In “Communication: Visage Paranoiaqu, 1931, (attached image) which is the visual example of the “paranoiac-critical” method, Dali deliberately transformed a photograph taken in an African village into a human portrait by playing on it with colors, light and other elements of picture. Paul Moorhouse states that Dali came across this photograph in a magazine and this way the artist consciously made an “intervention” on this work. In this artwork, on its bottom horizontal section, about ten local figures are seen to sit in front of a hut made of morass and other forestry products. Dali, this time, placed the very same photograph on the left upper vertical section. Finally, in the third square of this work, the artist transformed the figure and landscape in the very same image into an indistinct human portrait with the help of light and shades. Especially the human and hut figures in this image were linked to the obscure human portrait. It is possible to summarize the basic approach in this work of Dali as follows: The artist deliberately transformed a visual image consisting of realist figures and objects into another figure. Throughout his artistic life, Dali produced many similar type of works. These works include, “The Image Disappears, 1935”, “Apparition of Face and Fruit-Dish on a Beach, 1938”, “Disappearing Bust of Voltaire, 1941”, “The great Paranoiac, 1936” and “ Mae West, 1934-35”. Dali’s artwork titled “The Image Disappears, 1938” (attached image) is a typical example of “paranoiac-critical” method. The prominent image in this work is a girl or a woman holding or reading a book or sheet of paper in her hand. The striking features on the left part of this figure are a curtain, a map which is hanged on the opposite wall and a black-white colored floor. Strong light-shade themes are other dominant traits of this work. However, we recognize that the visual perception of this figure differs based on the perception of the people looking at it after a while. We detect that the figure of a young woman is, at the same time, a part of a man’s portrait. In this respect, the head of the young woman constitutes the portrait’s eye and the upper limb of the young woman constitutes the nose of the portrait. Besides, the arm of the girl figure and the object held in hand form the moustache on the portrait, and her dress is the goat beard of the man’s image. The map and the black-white coloring of the floor are the other details left out of the formation of the portrait.
Ades states that the indistinct portrait of man defined above might as well be “Valazquez”. The author also claims that the figure of the young woman defined above is reminiscent of the figure of another classical artist, namely of Vermer’s “Young Woman Reading a Letter at an Open Window”. Moreover, Ades claims that the map and curtain in the work analysed above are also reminiscent of the objects in Vermer’s other works. In this respect, we may well assume that Dali has merged images and figures in the works of the classical painters such as Valazquez and Vermer, in his own “paranoiac-critical” method. Finally, Ades underscores that Vermer’s works are a “paranoiac” passion for Dali. The “paranoiac” approach of Dali in the above mentioned work is a figure recalling another figure at the same time. While explaining this situation, Moorhouse “referred to the hallucinatory power to look at any object and “see” another.” J. Richard Block claims that the reason of such “double image” works to be “ambiguous” is the “figure-ground illusions” on the image. While naming Dali’s “paranoiac-critical” method as “optical tricks” and “hidden imagery” Al Seckel implies that such figures with double appearance cause a “visual surprise and discovery” effect and bear an enjoyable visual feature for the general public.
Also in his another work, namely “The Great Paranoiac, 1936”, (attached image), Dali plays on the forms of human figures in order to produce the face of another human portrait. Paul Moorhouse defines this image as follows:
Set in a desert landscape, a group of figures writhe grotesquely; the woman in the foreground clasps her head in her hands, others gesticulate and recoil from some invisible apparition. Without any of these figures being modified it is possible to perceive, in their gesture and movements, the appearance of an enormous head. In the distant group of figures the phenomenon is repeated.
Moorhouse associates this above mentioned work with Leonarda da Vinci’s “Treatise on Panting.” A Reynolds Morse, on the other hand, makes the same work a “reference” to “Archimboldo” and says, “With the conceit of Archimboldo many variations and configurations are possible.” Although the “double images” in Dali’s “paranoiac-critical” works are in the same parallel with Archimboldo’s in terms of application, the purposes of both artists in creating these works are totally different. Dali considers the uncertainty between the “illusionist” and “irrational” as a reflection of his personal complex and subconscious. Finally, Morse relates Dali’s “double images” to the artist’s “subconscious” as follows:
Using Dali’s hallucinatory process of anecdotal antropomorphism only one illusion can emerge. Should any figure move the true Dalinian subconscious perception of the double image is immediately destroyed, and only warring horsemen will remain.
Michael O’Pray highlights that the formation of human figures in Archimboldo’s works are composites of objects and plants such as “trees, vegetables and flowers” and claims that these figures are the portraits of kings and his close people. The author relates the method employed by Archimboldo to “mannerism” and expresses that the fundamental trait of this method is “a form of montage or editing”.
Also in our previous analysis, we identified that the basic approach in irrational and obscure works of Dali was in fact the “collage principle”. In this respect, we may conclude that the “subconscious” works Dali formed by “paranoiac-critical” method are in the same parallel to Archimboldo’s “mannerist” works. Finally Gaillewin relates Dali’s “double image” works with Archimboldo and claims that paranoiac-critic “had become nothing more than a justification and label for Manneristic imagery.”
In this context, he puts forward that Jean Marcel Dali’s “paranoiac-critic” working method is a “creative method” and consequently there exists “meaning of forcing inspiration” in these works. According to this, it is possible to deduce symbolic meanings between the small scaled human figures and the obscure human portrait formed by these figures in Dali’s The Great Paranoiac. For instance, the prominent women and men figures in The Great Paranoiac are observed to be holding their heads with their hands. Bending of figures in the front and back and their hiding of faces can be interpreted as their crying or being in a sort of grief. Their grief or crying can be linked to the human portrait they form. Obscure human portrait can be the leader of crying human figures or a human being who exposes them to pain and violence. This work of Dali may be interpreted in a number of ways. The reason why this work of the artist differs in terms of meaning is that the work is in a process of “puzzle picture” or “optical puzzle” . The fact that the figures and objects in Dali’s works acquire different connotations may well make us consider that they are transformed into “irrational” and “illusionist” visualization by being diverged from their form and appearance.
We had mentioned that the human portraits formed by Archimboldo in the “composite” method were transformed into psychological narrations in the works of Surrealist Dali in the 20th century. In these pages, I would like to compare the “puzzle” and “irrational” images observed in the works of Dali and Archimboldo with similar illustrations in the posters of the contemporary modern poster artist Istvan Orosz and to analyze the parallel relations between them.
Istvan Orosz
Istvan Orosz completed his education in Budapest, Hungary as a “graphic designer.” and in his professional life he especially produced “theater stage design and animated films, as well as in the design of theater, movie and exhibition posters.” Marta Sylvestrova, defines the illustrations in Orosz’s posters as “a personal mystique of irrationally beautiful visual illusions” and adds:
The mysterious world of illusions in Orosz' pictures draws you into a perfect world, the irrational construction of which is hidden behind the aesthetics of the imagination and the lyricism of forgotten beauty.
Shigeo Fukuda, a Japanese graphic designer, names illustrations in Orosz’s works “trompe l’oeil (trick the eye) hidden images” and points out that the important traits in these works are the “illusionary quality and novel ideas”. The “illusion” type objects and figures in some of Orosz’s posters possess obscure visual features. The position of images in the artist’s works, initiates a process of understanding and questioning at first sight, for they are not clear. Indeed, Gyorgy Haiman, a professor Emeritus of the Hungarian Academy of Crafts and Design, states that Orosz’s poster illusions question everything and the methodology of these illustrations has “the Archimboldo effect”.
In our interview Orosz, summarized the most important feature of these works as; “in my work there are hidden things and there are double entendres and illusions and paradoxes.” We may well claim that the method and language of the objects and figures employed in some of Orosz’s poster images bear the features of being “paradox and illusionist” just as in Dali’s “paranoiac-critic” method. The technique employed in Dali’s works was painting, whereas Orosz, used “woodcutting and engraving”, which were widespread in the 19th century. The reason why Orosz used “illusionist” and equally surprising “irrational” images in his posters is explained as “The poster should attack the eye”. In our previous analysis, especially within the framework of the shocking and “irrational” images in Klimowski’s works we studied that the frequently used “shock” effects in poster art had attracted audience’s attention. This time, Orosz captures the attention of the audience by “illusion” and “puzzle” methods.
E. H. Gombich, explains “illusion” and “puzzle” relation of the effective poster as follows:
A few clues presented with sufficient boldness and clarity will make us find the solution of the puzzle which the image presents to us…The character of the illusion is hard to describe and may vary from person to person. But if it did not exist to amuse and intrigue us, posters of this kind would scarcely be so popular.
Illusionist and obscure images “challenge the passer-by to stop and think” . It is possible to define the “illusion” and “puzzle” type of approaches in Orosz’s and Dali’s works as “…the absurd, the incompatible, the fantastic, and the Surrealistic”.
Margeret Moore relates the “surreal, illusionist” images in Orosz’s posters to Dali’s works and explains Orosz’s reason of interest in such surrealist illustrations as follows;
Like many Eastern European artists under communism, Orosz learned early the art subtle misdirection and hidden messages: There would be a second image hidden in the first, and the public always understood the read between the lines and see behind the picture.
We may well think that just like Rafal Olbinski, the works of whom we analysed in the previous pages, Orosz also opted for the irrational and obscure symbolic images in his posters in order to tell his opinions, hopes and thoughts during the communist regime in his country. Robert Lord implies that the influence of images in Orosz’s “surreal, illusionist” posters drifts the audience into a position between “reality and hallucination, wakefulness and dreaming” and accordingly keeps the vitality of poster images. The irrational and absurd visual images in Orosz’s posters can be exemplified as follows: “Ziska, 1978”, “Fiatal Magyar, 1988”, “Columbus, 1993”, “Air, 1992”, “And the heroes are Returning Home, 1991”, “Blood Brothers, 1993”, “The Death of Salesman” and “Book Week Festival, 1994”
I would like to analyze the parallel relations by comparing Orosz’s “Portrait of Shakespeare” (image attached) poster, created in 1999 and the winner of Victoria and Albert Museum’s poster contest award, with Dali’s “paranoiac-critical” method.
In this work dominated by red, yellow and green colors, a man’s portrait is illustrated whom I assume to be Shakespeare. What renders this work interesting, irrational, absurd and surrealistic is the existence of two musicians who make up Shakespeare’s head. The musical instruments in the hands of both musicians that form the head of the portrait are the eyes whereas the left foot of the figure standing on the left, forms the lips and the moustache of Shakespeare. The traditional hats of both music players and their outfits also make up the head of Shakespeare’s portrait. Orosz, completes the body of the portrait with green and red. Al Seckel, defines the relation between the two musicians in this poster and Shakespeare’s portrait as follows:
“The use of the two theatrical musicians to create Shakespeare’s face says much about Shakespeare as a creature of the theater.” In this respect, we may well assume that Orosz has established a conceptual relationship between Shakespeare’s portrait and the two theatrical musicians that make up this portrait. We can claim that the “playfulness” and “juxtaposition” method between the musicians and Shakespeare in Orosz’s illustrations are the basic elements to render an “illusionist” effect. The similarities between Orosz’s Shakespeare portrait in this poster and Dali’s previously analysed The Great Paranoiac and The Image Disappear form a relationship. In Dali’s The Great Paranoiac, in a dessert like place, the forms and physical attitudes of more than 10 people make up a great human portrait. This situation renders Orosz’s Shakespeare portrait more plain and simple by limiting it to only two human figures. Dali’s “paranoiac-critical” works inherit classical painting techniques such as light, shade and depth. Besides, such works of Dali with “illusionist” appearance came into existence with the varied usage of ground, color, volume and images. This “illusionist” illustration in Orosz’s work is also illustrated by human forms, playing with color, ground and various scales of figures. Again, we may say that “particular combination of technical complexity and playful disregard for the conventional law of perspective and spatial relationship.” in Orosz’s works, are also valid for Dali’s works. Dali forms “contradiction and ambiguity” in his human portraits made up of human forms by using the aspects of landscape, space and ground. However, this holds relatively valid for Orosz’s poster. For instance, Orosz’s illustration of the two theatrical musicians on the collars of Shakespeare’s outfit is an absurd and surprising situation. I can say that the composition of bigger portraits by human figures in the works of Orosz and Dali are equally the same in terms of approach and conclusion. However, the works of these two artists are different in terms of meaning and purpose. For instance, human beings in Dali’s The Great Paranoiac and the big portrait that came into existence from the forms of these human beings do not represent a certain person or group. In this work, Dali reflected his own psychological thinking, “the critical-interpretive association of delirious phenomena” process. In other words, we may well assume that Dali personalized the work above and reflected his own feelings. On the other hand, Orosz consciously illustrated the poster for the Shakespeare exhibition. To put it differently, rather than with his own thoughts and psychological reflections, Orosz produced it with an external motive which is financial. Accordingly, by realizing the formation of the Shakespeare portrait with two musicians, the artist established a purposeful semantic relationship with Shakesphere and the theatrical work. On the other hand, the “illusion” method in Dali’s works does not transform into a meaningful sense within a “concept” unlike in Orosz’s works and it maintains its obscurity.
We can claim that Orosz’s other work, “Mysterious Island, 1979,” (attached image) is another version of today’s “paranoiac-critical” method developed by Dali in Surrealism. This work, which is the cover and poster image of Jules Verne’s “Mysterious Island”, was an illustration in a circular form by the “etching” method. In the lower part of this work where “L’ille Mystrerieuse” literary information exists, a sailing boat which is for two people is seen between the reef and grove. This visual perception changes when we turn the artwork by 90 degrees. This time what is seen from upside down in the section of “Jules Verne” is an obscure portrait which we assume to be Jules Verrne. Seckel defines this work as “A portrait of Jules Verne seen in this topsy-turvy illustration”. In his work, Orosz illustrates Jules Verne’s portrait in the form of two human figures sailing between reef and grove. We may assume that such images attract attention to the poster and arouse curiosity with their surprising and “illusionist” traits. No doubt that this attention focused on the poster stems from the curiosity to figure out the obscurity in the image. This obscurity comes into existence between Jules Verne’s portrait and the grove, reef and the sailing human figures. J. Richard Block explains the kind of influence such images have on the individual as follows; “Once you see both interpretations, it is impossible to remain focused on just one. The other will keep popping into your consciousness.” Besides, Block defines the “topsy-turvy” effect seen above as “illusions and visual oddities”.
Both in Dali’s and Orosz’s modern poster works, we can regard the “illusion” method as a visual communication between the audience and the artist. The basic approach in the works of Dali and Orosz is the employment of a method that misleads the eye due to the composition of another figure by symbolic figures such as human figures and non-human object figures. The reason why the acquired “illusionist” images stir a sense of admiration in audience is the representation of familiar and ordinary objects and figures which they are used to in their daily lives in a different way. Indeed, Richard Martin explains the effect of the “illusion” method in art as follows:
“Seeking marvel and realizing dreams, the artists and designers of surrealism came to illusionism and to deceits of the eye as primary devices for both concealing and revealing the marvelous in mundane world.” In this respect, we may well claim that Dali reflected the revivals of his own personal fears, hopes, delights and hilarities in his subconscious through “illusionism” whereas Orosz used it in his works in order to arouse curiosity and attract the attention of the audience by the Jules Verne image in his poster. I envisage that the states of “impossible” and “confusion” in Orosz’s posters can attract the attention of the audience even for momentarily and hence can reach its objective. Indeed, the purpose of a poster of him is defined as “to seduce, to exhort, to sell, to educate, to convince, to appeal”. On the other hand, Bernard Champignealle’s definition of a poster supports this theme: “a poster…must evoke surprise; it must shock the sensibilities and make and indelible impression on the memory” The most important function of the poster art is to communicate with the audience. Consequently, we may well think that the surprise, obscurity, intricacy, absurdness and extraordinary features formed by the “illusionism” method are the most important traits of this art.
It is also possible to define the “illusion” type of works used either by Dali as a basis for paranoiac-critical method or by Orosz to attract the audience’s attention as “doubtful” and “puzzle picture.” Uwe M. Schneede explains the relation of “ambiguous” images with “reality” and “illusion” as follows: “by combining or transforming real-looking elements into new, new improbable structures that have the character of probability because they are executed with illusionist.” E. H. Gombrich names the Surrealist images defined as “illusion” by Schneede “the trick picture” and adds: “the trick picture in which surrealist artist conjured up the ambiguities of dreams.” In this situation, we may well claim that the “illusion” visual language in Dali’s “paranoiac-ciritical” works is an outcome of the artist’s psychology, spiritual reflections, dreams and subconscious reflections. On the other hand, we may assume that Orosz established communication with the audience by transforming the “illusion” method in poster art into visual entertainment, pleasure, humor and curiosity.
Turkish to English: My Paintings General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - Turkish Resimlerim; kopma bilmeyen cizgilerimin ve damlayıslarımın, her zaman birbirine buyuk bir sadakatla baglanan sevgi sozcugunun bir ifadesidir.
Derinliklerimde dans eden bir olusumlar veya duygular zincirinin ve hazinesinin tuval veya kagıt uzerinde kendini sınırsızca ve ahenkle anlatmasıdır.
Cogu zaman cocuk gibi senlenmek, sekillenmek renklenmek ve, ozgurce dolasmak icin sıra beklerler ama asla unutulmazlar. Bazen bir tuvalden baksa bir tuvale atlayarak uzun bir zaman sakalasırlar. Hepsi de bana yasamın Lirik, coskulu anlatımı ve seruvenidir.
Var olmanın ta kendisi, o andaki ya da gecmisteki ifadesidir. Onlarda asla bir yasanmamıslık bulunmaz. Cıktıgım bu heyecan dolu seruven, sonunu kestiremedigim ozgur anlatımın renk ve cizgilerle ifadesidir, tuval uzerine damla damla akmasıdır. Cizgi ve renkler denizinde compozisyonlarımın bir valsidir.
Calısmalarımda en onemli coskulardan biri hic kullanılmayan ya da az kulanılan renklerin cazibesi olup, beni bir mıknatıs gibi icine cekerler. Cunki o renklerin tuvalimde uc noktalara itilmesi veya hic kullanılmaması bende bir ahenksizlik duygusu yaratır. Her rengin mutlaka kuvvetli bir ifade gucu ve anlatımı vardır. Onları dinleyerek kompozisyonlarımı ortaya koymak seruvenimin en heyecan verici yanıdır. Beynimde dolasan bu anlatımlar taslagı er gec bir ifade gucu bulurlar ve adım adım yuruyerek calısmalarımın temel parcası olurlar.
Bazen ufak bir cizginin haykırısı veya renk tonlaması, tablomun en anlamlı yanı olur, ozellikle yuvarlak uzanan cizgiler veya birbirini atlayan cizgiler, sondurulmus renkli karmenler, deniz mavileri, yesilleri.
Yasamımızda her an damlamalar vardır, onların uzantısı sonunu kestiremedigimiz olguları meydana getirir ki aynı tuvalimin basına gectigim an gibi.
Onunla buyuk bir yolculuga cıkarım, ama beynimdekiler damla, damla akıp bitinceye ve doyuma ulasıcaya kadar. Bu da benim icin bir mutluluk denizi olurlar.
Resim sanatı, duygu ve dusuncelerin bir alıverisi, uyarılması, toplumun ruhsal acısının veya coskusunun en ust duzeyde ifadesi, bir mesajıdır.
Dusuncelerin sessiz savunucusudur.
Calısmalarım cogu zaman Yaglıboya ve Suluboya tarzındadır.
Bundan baksa pastel ve rapido–aquarella calısmaları daha azdır. Rapido – Aqu. benim ozgun bir calısma tarzımdır.
Uzun seneler resim calısmalarımla beraber kendi aile sirketimiz olan E Bnin Yonetim Kurulu kadrosunda calıstım. 7-8 senedir emekli olup sadece kendi atolyemde calısmaktayım.
Translation - English My paintings are an expression of the affection between my unceasing lines and my inner drops which have always been tied to each other in fidelity.
It is the tuneful and limitless self-expression of a chain of nascency and feelings dancing in the profundity of my soul.
Most of the times they wait in a hope to cheer up just like a kid, to get into a form, to have a color or to wander around freely. Yet, they are never forgotton. Sometimes they make jokes with each other for a long time from one canvas to another. To me, all are lyrical and enthusiatic expressions and adventures of life.
It is what existence is or the expression of existence either on that moment or in the past. They always bear the marks of true life. This exciting adventure, for which I have set off, is the expression of free narration in colors and lines the destination of which I cannot figure out. In other words, it is the dropping of true life on the canvas. Or it is a waltz of my compositions on the sea of lines and colors.
One of the most important euphoria in my works is the attractivity of the rarely used colors. They attract me into the painting just like a magnet. Because pushing these colors to the very edges on my canvas or not using them would create a feeling of disharmony.
Each color has a strong power of expression or narration. Creating my compositions by listening to their sounds is the most exciting aspect of my adventure.
The outline of expressions that wander in my brain find a strength of expression sooner or later and they become a major part of my works step by step.
Sometimes the scream or color toning of a minor line becomes the most meaningful aspect of my painting. Especially the roundly stretching lines or the lines leaping over each other, quenched colorful carmens, the blue of the sea or the green...
There are drops in each moment of our lives. Their extensions form facts whose ends we cannot figure out. This is very similar to the moment I stand by my canvas. I start out on a big journey with my canvas in which things in my mind flow in drops and come to an end to my satisfaction. For me, this is the sea of happiness.
Art of painting is an arousal and exchange of feelings and thoughts. It is an expression or a message of the spiritual grief or enthusiasm of the society at the highest level. It is the silent defender of thoughts.
My works are mostly in oil and watercolor. In addition to this, I have some pastel and rapido aquarella works. Rapido – Aqu is an individual style of mine.
For years, I worked as a part of the management team of our family owned company EB and for the last 7-8 years I have been retired and have only been working in my studio.
Turkish to English: Book Introduction General field: Social Sciences Detailed field: Art, Arts & Crafts, Painting
Source text - Turkish Introduction
Yazinsal acedemik arastirmama katki saglamak amaciyla, yaptigim uc (3) poster calismami, Dada ve Surrealism sanat akimlari cercevesinde degerlendirerek, Magritte’nin bagzi calismalariyla karsilastirarak analiz edecegim. Arastirmamin teorik kismina hitap eden “introduction” kismi, yapacagim bu analizlerin hemen akabinde sunulacaktir. Bu sayfalarda inceleyecegim poster calismalarimdaki imgeler (images), diger alanlardada urettigim illustrasyon, karikatur ve print tarzi calismalarla parelel iliskidedir. Dolayisiyla yapacagim bu 3 poster calismasindaki analizler, genelde butun calismalarim icinde gecerli olabilecek.
Sanatsal kariyerimin ilk basamigi mizah, sacmalik (absurdness) ve olagan disi gorsel anlatimlara sahip olan karikatur sanatiyla ile basladi. Ilk onceleri sadece siyah murekkep, divit ucu ve beyaz kagitla gerceklestirdigim kara mizah tarzi karikatur calismalarim, sonralari yerini, isik, golge ve hacim agirlikli daha gercekci illustrasyonlara birakti. Fakat bu tur illustrasyonlarda yine mizah, sacmalik ve gercekustu (irrationality) unsurlari kullanmaya devam ettim.Bu sirada universite yillarinda ozellikle Dada ve Surrealism’in “irrational” “absurdness” fantastic” ve “obscure” ozelliklerini calismalarimda daha bilincli sekilde kullanmaya devam ettim. Bu akimlarin ozellikle Dali, Magritte, Ernst gibi oncu sanatcilarin yaklasim ve tekniklerinden ilham alarak, kendi tarz ve yontemimi calismalarimda gerceklestirmeye calistim. Egitimim sonraki yillarinda, sadece kagit uzerinde degil, ayrica, bilgisayar araciylada foto-kolaj tarzi calismalar urettim. Son 3-4 senedir yaptigim calismalar, ozellikle poster ve diger grafik calismalarim, bilgisayar yardimi ile gerceklestirilmis calismalardir. Gercek-ustuculuk (irrationality or suureality), mizah, supriz, belirsizlik (ambiguous) ve sacma (absurd) gibi unsurlar poster, illustrasyon, karikatur ve diger grafik tarzi calismalarimin temel unsurlaridir. Bu tarz ozellikleri, specifik olarak poster calismalarimda kullanmamin sebebi, imgelerin gorunum ve etkisel yonuyle cekici ve sasirtici olmasi sebebiyledir. Poster calismalarimdaki “irrational”, ”absurd” ve “humorous” imgeler, ozellikle poster izleyicilerin dikkatini cekmekte ve mesaji ulastirmada yardimci olmaktadir. Bu tarz poster imgeleri hem gorsel olarak eglenceli ve mizahsal gorunum saglamakda, hemde imgelerin vermis oldugu dusuncel ve konsepsel anlamlar sunmaktadir. Yani izleyicilerin ilgisini daha once gormemis veya sasirtici imgeler ile dikkatini cekerken. ayni zamanda bu imge ve sloganlarla vermek istedigim bilgiyileri izleyiciye ulastirmaktayim. Bu tarz yontemin ozellikle poster sanati icin uygun bir yontem olduguna inanmaktayim. Gunumuz bagzi poster calismalarda, izleyicinin bir cok cesitli gorsel ve yazinsal bilgiler arasinda ilgisini ve dikkatini cekmek icin olaganustu (irrational) ve sasirtici (suprising) imgeler kullanilmaktadir. Bu tarz dusunceden cikarak bende calismalarimda mizahsal ve dusunmeye surukleyecek tarzda imgeleri poster calismalarinda yogunlukda kullanmaktayim.
poster calismalarinda kullanilan gorsel imge’yi yazinsal bilgi’den mumkun oldugunca carpici sekilde one cikaririm. Bu yaklasimin nedeni, sembolik imgelerin gorsel alginabilir ve okunabilirlik etkisinin guclu olmasi sebebiyledir. Bir poster calismasinda kullanilan herhangi bir yazinsal dil, bir baska ulke insanlari tarafinda okumasi ve anlasilmasi her zaman problematic ve zordur. Buna ragmen posterlerde kullanilan evrensel ve sembolik imgelerin vermis oldugu anlamsal birliktelik ve yorumlar, posteri ilginc ve cekici kilmakta. Bu dusuncelerime asagida verecegim bagzi poster calismalarimla orneklendirirken, yine bu calismalari, Dada ve Surrealist hareketleri (movements) ile olan iliskilerinide deginecegim.
Arastirmamin pratik kismini olusturan poster calismalarimin konulari, genelde dunya insan meselerine yoneliktir. Bir sanatci duyarliligini on planda tutarak aids, war, breast cancer, condom, smoking, environment, education gibi konularda calismalar urettim. Ozellikle gunumuz ve daha farkli donemler icinde gecerli olmus ve olacak savas konusundaki bir calismami, “Amerika and Iraq”, burada analiz etmek isterim.
Bu poster calismasinda iki yazinsal kelimenin, “Amerika” ve “Iraq”, orta kismina bir butun olarak sundugum sembolik kalp ve kafatasi imgelerini yerlestirdim. Bu durumda posteri “Amerika loves Iraq” seklinde okumak mumkundur. Calismanin yazinsal bilgisi olan “Amerika” ve “Iraq” gorsel imge ile birleserek bir slogan olusturmustur. Yani slogan sadece kelime veya gorsel umsurlardan degil, her iki farkli alanin birlesmesi sonucuyla ortaya cikmistir.
Bu calismada sorunlasan kismi, sembolik kalp ve kurukafa’nin olusturmus oldugu yeni anlamdir. Biliyoruz ki kalp sevgiyi, aski ve yasami sembolize eder. Kurukafa olum (death) ve yasamin sonunu sembolize eder. Farkli anlamlar icinde olan bu sembolik imgeler, birbirleriyle ic-ice gecirilerek “hybridization” tarzi gorsel bir dil olusturmustur. Poster imgesinde ic-ice sunulan kalp ve kurukafa, yeni bir sunus sebebiyle, farkli yorumlara neden olmustur. Mesela “Amerika” ve “Iraq” arasinda sadece kalp imgesini kullansaydik, anlam daha net olabilirdi. Bu durumda “Amerika loves Iraq” diyebilirdik. Fakat her iki farkli semboli bir anlam icinde okumaya calistigimizda, karisiklik veya belirsizlik (obscurity) ortaya cikmaktadir. Posterdeki bu calismaya bakarak, Amerikanin Irak’a karsi hem olum (death) ve hemde sevgi beslediginide cikarabiliriz. Imgelerin vermis oldugu farkli yorumlamalar, postere olan ilgiyi ve meraki arttirir.
Bu posterde yaklasim su idi: Amerika irak’ta gerceklestirdigi savas harekatinin sonucunda kaos, siddet ve belirsizlik olusturmustur. Amerika ise bu hareketini, demokrasi ve baris cercevesinde nitelemektedir. Bir insan ve sanatci olarak, Amerikanin bu traji-komik hareketini bir poster ile belgelemem gerektigini hissettim. Hergun yuzlerce sivil, asker ve asilerin (insurgency) siddet sonucu olmesini kurukafa seklinde sembolize ettim. Diger taraftan, Amerika’nin Irak’a olan yapmacik baris ve denokrasi niyetini ask ve sevgi olarak sembollestirdim. Bu farkli ve birbirleriyle zit olan dusunceyi, kalp ve kurukafa sembollerini birbirleriyle ic-ice gecirerek, bu celiskiyi ve belirsizligi vurgulamak istedim. Dolayisiyla posterdeki yazinsal ve gorsel imgenin anlamini, Amarikanin irak’a yonelik ilgisini olumcul bir sevgi (deathly love) olarak vermeye calistim. Sevgi eger olumcul bir ozellik tasiyorsa, o sevgi veya ask degil olumdur.
Kalp ve kurukafa’yi birbirlerine harmanlayarak (blended) “hybridization” gorsel dili olusturdugumu ifade etmistim. Hybriziation can be described as “experimental mixing of elements”. Bu durumda kalp ve kurukafa bir araya getirilerek farkli bir anlam olusturmustur. Bu poster calismasinda kullandigim gercekustu (surreal) dil, arastirmanin ileri sayfalarinda inceledigim, Magritte’nin “The Great Family” ve “Notre Sabena” calismalari ile parelellik olusturur (bu calismalarin analizleri icin 250 ve 251 sayfalarina gidiniz). Magritte ozellikle “Notre Sabena” isimli calismasinda mavi gokyuzunu bir guvercin sulueti icinde resm ederken, yazinsal bilgileri bu imgenin alt kismina yerlestirmistir. Guvercinin arka plani siyah birakildigi icin bulutlu guvercin carpici ve etkili sekilde sunulmustur. Yanilmiyorsam Magritte bulutlu guvercini, Notre Sabena hava yollari ile ozdeslestirmistir. Hava yollarinin ozgur bir kus ile kiyaslanmasi mecazi bir anlatim olusturmustur. Diger tarafta, yapmis oldugum posterde de, Magritte gibi, iki elementi kalp ve kurukafa, bir araya getirerek anlatismsal bir konsep olusturmaya calistim. Gerek Magritte’nin gerekse yapmis oldugum poster calismada birden fazla element bir araya getirilerek bir baska anlam olusturmustur. Bu yontem her iki farkli calismanin temel yaklasimini olusturmaktadir.
Magritte “Notre Sabena” calismasinda birbirleriyle bir harmoni ve pozitif iliski olusturan guvercin ve gokyuzunu “hybridization” gorsel dili cercevesinde tasarlamisken, ben de poster calismamda, bir biriyle zit iliski olusturan kalp ve kurukafayi bir arada gorsellestirdim. Calismamdaki iki zit iliskinin anlami daha negatif anlam olustururken, Magritte’nin calismasindaki imgeler daha pozitif ve siirsel ozellik kazandirmistir. Poster calismamdaki imgeleri yalin bir illustrasyon gercekliginde resimlerken, Magritte’nin calismasi daha realist ve detaycidir. Her iki calismada olusturulan yeni sembolik imgeler carpici, guclu, sacma (absurd) ayni zamanda farkli mecazi anlamlar olusturmustur. Ayrica bu tarz imgeler calismalara dinamiklik, enerji ve merak etkisi vermektedir. Sonuc itibariyle “Amerika and Iraq” isimli poster calismam, Magritte’nin “Notre Sabena” calismasiyla temelde gorsel dil ve kullanimda yonuyle birbirleriyle parerellik olustururken, kullanilan teknik ve amaclar farkli olarak tasarlanmistir.
Gunumuzde doga ve cevre’nin varligini, bitmeyen ihtiyaclarimiz dogrultusunda, tuketme ve yok etme surecine getirdik. Bu durum yasadigimiz dunya’da temelde buyuk cevresel problemler olusmasini saglamistir. Mesela, cogalan insan nufusuna bagli olarak tuketilen gaz ve benzin tuketimi, ihtiyaclarimiz icin yok ettigimiz ormanlar, Sanayi atiklar sonucu artaya cikan deniz ve toprak kirlenmesi, gunumuz modern insanin problemleri haline gelmistir. Dusunen ve hisseden sanatci duyarliligi cercevesinde, genel olarak bu konuda bir poster yapip insanlarla paylasma ihtiyacim oldu. Asagidaki “Save Nature, Save Future” isimli poster calismam, bu kaygilarimi yansitmaktadir.
Bu calismada insan ve gelecegini sembolize etmek icin bebek figuru kullandim. Doga’nin narinligini, kirilganligi ve supriz guzelliklerini ise, kelebek figuru ile sembolize ettim. Calismadaki bu iki sembolik figurleri ayri ayri kunmak yerine, bir konsept cercevesinde birlestirerek “hybridization” gorsel dili olusturdum. Poster calismasinin 3’de 2’isini kaplayan imgenin alt kismina ise “Save Nature. Save Future.” slogonini yerlestirdim. Poster imgesinin ana konusu veya fikri, kelebeginin sag ve sol kanatlarinin alt kismindaki dairesel veya “dot” seklindeki bicimlerin bebeginin gozleri yerini almasidir. Dogada farkli renk ve sekillerde bulunan kelebek turlerden uygun olanini, bir bebegin yuz kismindaki gozler formuyla birlestirip, posterde beklenmedik (unextected) bir gorunum sunarak ilginc ve cekicilik olusturmaya calistim. Kelebek kanatlarindaki “dot” larin cocugun gozleriyle birlesmesi dusuncesini olusturduktan sonra buldugum uygun imgeleri bilgisayar ortamina tarayarak gorsel etki vermek icin renk ve bicimde manipulasyonlar yaptim. Poster imgessinin anlamini netlestirmek ve yonlendirmek amaciyla, slogani, imgenin alt kismina ekledim. Bu durumda posterdeki anlami su sekilde yorumlamak mumkundur: Doga veya cevreyi korumak ve guclendirmek, insanligin gelecegi icin zorunlu ve gereklidir. Insan kusaginin yasayabilmesi ve gelecek kusaklara ulasabilmesi doga’nin korunmasiyla gerceklesir. Kelebegin “dot” lari bebegin gormesini saglamasi, insan ve doga arasinda birbirini tamamlayan bir iliski olarakda dusunebilinir. Ayrica posterdeki bebek ve kelebek imgelerinin olusturdugu bu birliktelik, mizahsal, neseli ve positif bir etki olusturmustur. Poster imgesi ve slogani, ozetledigim bu dusunceyi desteklemektedir.
Yukaridaki bebek ve kelebek imgelerinin olusturmus oldugu “hybridization” ve “big and small” gorsellik dil’i, Magritte’nin “Rape”, calismasiyla parelel iliski olusturur (bu calismanin daha detayli analizi icin 175 nolu sayfaya gidiniz). Magritte, bir kadin portresini resimledigi bu calismada, kadinin gozleri yerine, goguslerini (breast), agzi yerine ise vegina’yi resmetmistir. Magritte, kadin sexuel kisimlarini, kadinin portresinde resmetmesi portreyi promlestirmistir. Magritte’nin “rape” calismasinda kullanilan gorsel yaklasim ve yontem, ozellikle “Save Nature. Save Future” poster calismamla ile yakin iliskiler icindedir. Magritte’nin portresinde gozler ve agiz bir baska organlarin yerini tutmusken, yaptigim poster calismasindaki imgede ise, bu kez cocugun gozleri kelebege ait olan noktaciklarla iliskilendirilmistir. Bu cercevede teknik ve dil olarak birbirinden farkli olan bu iki calisma, gorsel yaklasim yontemi ve anlami yonuyle parelellik olusturdugunu soyleyebiliriz. Magritte dusuncesini yagli boya teknigle resimlerken, posterimdeki imge ise foto-kolaj teknigiyle bilgisayar ortaminda tamamlanmistir.
Magritte’nin portresindeki gozler ve vigina, portrenin normal bir parcasi sekliyle sunulmustur. Dolayisiyla, bu olagan disi (irrational) ve sacma (absurd) portrenin gorselligini “metamorpsis” sureci olarak degerlendirmek mumkundur. Diger tarafta yapmis oldugum portredede olagan disilik ve sacmalik olmasina ragmen, sembolik imgelerin birbirleriyle gorsellik iliskisi daha cok “hybridization” olarak dusunebilinir. Bebek ve kelebek birbirine transform etmeden, bir araya getirilmistir. Kelebek ile Bebek arasindaki iliski ve birliktelik, kelebegin “dot” kismini olusturan siyahi dairelerdir. Magrittenin calismasindaki portre, gogus ve vigina’nin transormu daha esnek ve “smooth” sekliyle tamamlanmistir. Dolayisiyla portreyi diger unsurlarla butun olarak kabul edebiliriz. Bizi rahatsiz eden portredeki unsurlarin birbirleriyle integre etmesi degildir. Problem olan, portrede beklemedigimiz cinsel uzuvlarin varligidir. Gerek magrittenin calismasinda gerekse benim calismamdaki imgeler bir araya getirilerek bir konsept olusturmustur. Bu konsepti olusturan yontem, farkli elementlerin bir araya getirilmesi sonucuyla ortaya cikan yeni anlamdir.
Kelebeginin kanatindaki noktalarin bebegin gozleri seklinde tasarlanmasi ve olusturdugu beklenmedik supriz efekt, bir an olsun mizahi ve eglence gorunum kazandirmaktadir. Postere ekledigim “Save Nature. Save Future.” slogani, bebek ve kelebek arasindaki iliskiyi spesifik bir anlama yonlendirmektedir. Magritte’nin calismasi daha cok sanatsal kaygi amaciyla yapildigi ve spesifik sloganlar olmadigi icin, anlamsal olarak daha genis ve belirsizdir (obscure). Yaptigim poster calismasindaki cevre ve doga kaygilarimi izleyicilere acik sekilde iletmek icin sloganin imgeyle ic-ice gecmesi ve anlam yonuyle birbirini tamamlamasi gerekiyordu. Dolayisiyla poster calismamda vermek istedigimi, acik, eglenceli ve supriz sekilde sunmam gerekiyordu.
Insanoglunun bir diger evrensel problemi olan sigara kullanimi ve zararlari uzerine yaptigim bir calismami, “Th Truth: Smoking kills” burada analiz etmek isterim.
Bu posterin gorsel imgesini, sonmekte olan bir sigara izmariti (smoking end) ve insan kafatasini (skull), iki kelimelik sloganin “The Truth:” ve “Smoking Kills” orta kismina yerlestirdim. Diger posterlerde oldugu gibi, bu posterdede, slogan poster imgesinin anlamiyla sunularak butunluk olusturmaktadir. Poster imgesinde sonmekte olan sigara izmaritinin bas kismina insan kafatasini yerlestirerek, insan ve sigara arasinda iliski olusturmak istedim. Bu calismada “large and small, large and high”” ve “hybridization” gorsel dillerini kullandim. Poster imgesindeki sigara ve kurukafa arasinda olusan anlamsal iliski bir manipulasyonun sonucudur. Sonmekte olan sigaranin bas kismina yerlestirilen kurukafatasinin vermis oldugu izlenim, her iki elemetin birbirlerini devami oldugudur. Sigara ve kurukafatasi arasindaki gorsel iliskiler birbirleriyle direct degil, daha cok anlamsal yonuyle gerceklesmistir. Mesela sigara ile kurukafasindaki iliski, daha once ki Magritte’nin “Notre Sabena” calismasindaki gokyuzu ve guvercin figurleri gibi bir iliski olusturmaz. Tamamiyla birbiriyle ilgisiz olan sigara ve kurukafa, bir konsept icinde degerlendirilerek sunulmustur. Sigara’in bas kismini kurukafa seklinde gorsellestirmemiz ve iki elementin birbiriyle butunluk arz etmesi, realist yasamda imkansiz iken, vermis oldugu anlami anlayabilir ve realist bir yorumda bulunabiliriz.
Yukarida analiz ettigim 3 poster calismasindaki imgelerdeki figure ve objeler ozellikle “absurdness”, “irrationality”, “humorous” ve “incongruous” iliskileri sebebiyle Dada ve Surrealism hareketleri ile yakin parelellikler olusturur. Calismalarimda yogun olarak kullandigim “hybridization”, “big and small” ve “metamorphosis” tarzi gorsel diller yine Dada ve Surrealist sanatcilarin calismalariyla iliskilidir. Bu akimin sanatcilari, Max Ernst, Magritte, Dali ve Man Ray, calismalarindaki imgeleri olustururken ozellikle bir den fazla element bir araya gelerek “absurdness” ve “irrationality” gorsellikleri ortaya cikmistir. Bu yaklasim bugun modern poster sanatinda oldugu gibi kendi poster calismalarimdada devam etmektedir. Dada ve Surrealistlerin ozellikle kendi sahsi duygu ve dusuncelerini yansittigi “irrational” calismalar, gunumuzde benzer yontem ve tekniklerle poster sanatinda kullanilmaktadir. Avant-Garde sanatcilarin calismalarindaki imgeler belirsizligini (abscurity) korurken, poster calismalarimdaki imgelere eklenen yazinsal sloganlar posterin anlamini cozumlemede yardimci olmustur.
Bu arastirmada calismalarini analiz ettigim Max Ernst, John Heartfield ve Man Ray gibi sanatcilar donemlerinde kesme-yapistirma imkanlariyla, diger sekliyle foto montaj veya kollaj, calismalar uretmistir. Gunumuz bilgisayar ortaminin vermis oldugu imkanlarla yaptigim poster calismalarindaki imgelerin birbiriyle olan iliskisi ve teknik cozumleme, 1930’lara gore daha basit ve problemsiz olabilecegini soyleyebiliriz. Bu tur teknolojik farkliliklara ragmen bagzi poster calismalarimdaki imgelerin gorsel dili ile Dada ve Surrealist sanatcilarin calismalarindaki gorsel dili arasinda onemli parelellikler oldugunu soyleyebiliriz.
Translation - English Introduction
I will be analyzing three poster works of mine, which I created to contribute to my literary academic research, by comparing them with some works of Magritte and evaluating them within the framework of Dada and Surrealism movements. The “introduction” which is related with the theoretical aspect of my research will be presented right after these analyses. The images in my poster works that will be analyzed in this paper are in parallel relationship with illustration, cartoon and print style works in other fields. For this reason, the analyses of these three poster works will be generally valid for all of my works.
The first step of my artistic career started with the cartoon art that bears humorous, absurd, and irrational visual expressions. My black humor cartoon works, which I initially produced only by using black ink and dip pen, were then replaced with more realistic illustrations dominated by light, shadow and volume. However, I continued to apply the elements of humor, absurdness and irrationality in such illustrations. Meanwhile, I continued to use the “irrational” “absurd” fantastic” and “obscure” features of Dada and Surrealism movements more consciously in my works during the time of my university years. I tried to effectuate my own style and method in my works by being inspired by the approach and techniques of the leading artists of these movements such as Dali, Magritte and Ernst. In later years of my education I also produced photo-collage works at the computer in addition to my paper based works. The works I created in recent years, especially my poster and graphic works, are the works created with the application of computer technology. Irrationality, humor, surprise, ambiguity and absurdness are the basic elements of my poster, illustration, cartoon and other graphic works. The reason why I specifically use such features in my poster works is that they render the images attractive and surprising in terms of appearance and effect. The “irrational”, ”absurd” and “humorous” images in my poster works catch the attention of poster viewers and help them in understanding the message. These kinds of poster images do not only provide visual entertainment and humor but they also represent intellectual and conceptual meanings. In other words, I communicate my message with these features and slogans while catching the attention of the viewer with appalling features to which they have not been exposed before. I believe that such a method is appropriate especially for the poster art. In some poster works of the present day, irrational and surprising images are used in order to attract the attention of the viewer among many visual and literary information. Taking such a thought as the basis, I intensively use humorous and reflection triggering images in my works as well.
I bring out the visual image in my works to a great extent in a striking way in comparison with the literary information. The reason behind this approach is the powerful effect of the symbolic images in terms of visual perception and readability. It is almost always challenging and problematic for the people of another country to read and understand the literary language used in a specific poster work. However, the semantic unity and interpretations created by the universal and symbolic images render the poster interesting and attractive. While exemplifying these thoughts with some of my poster works, I will also refer to the relationship of these works with Dadaist and Surrealist movements.
The subjects of my poster works that form the practical aspect of my research are generally related to the universal human issues. Keeping my artistic sensitivity at the forefront I produced some works about aids, war, breast cancer, condom, smoking, environment and education. At this point, I would like to analyze one of my works about war, which is “America and Iraq”. This work has been valid during different periods including our present day and, I believe, it will be keeping its validity in other periods.
In this poster work, I placed symbolic heart and skull images presented in an integrated way in the middle of two literary words which are “America” and “Iraq”. In this case it is possible to read the poster as “America loves Iraq”. “America” and “Iraq” which are the literary information in the work form a slogan combined with the visual image. In other words, the slogan is not consisted of merely words or visual features but it is a combination of both of the fields.
The problematic aspect of this study is the new meaning formed by the symbolic heart and skull. We all know that heart symbolizes affection, love and life. Skull on the other hand is a symbol of death and end of life. These symbolic images within different semantic frameworks form a “hybridization” visual language by being integrated into each other. The heart and skull combined into each other paved the way for new interpretations due to its new form of presentation. For example, if we had used merely the heart image between America and Iraq, the meaning could have been clearer. In such a case we could have said “America loves Iraq”. However when we try to interpret two different symbols within a semantic framework, we face obscurity. Looking at this poster we can interpret that America fosters both death and love for Iraq. Different interpretations of the images enhance the interest in the poster.
The approach for this poster was as follows: America has created chaos, violence and obscurity as the outcome of the war in Iraq. America on the other hand describes its action within the framework of democracy and peace. As a human being and artist, I felt the necessity to document this tragic comic action of America with a poster. I symbolized the death of hundreds of civilians, soldiers and insurgents as a result of violence with a skull. On the other hand, I symbolized America’s pretentious intention of peace and democracy as love and affection. I tried to emphasize this contradiction and obscurity by integrating heart and skull symbols, which are opposite and contradictory in nature, into each other. Thus, I tried to convey the meaning of literary and visual image in the poster, the interest of America in Iraq, as the deathly love of America for Iraq. If love bears a deathly feature, then it is not love or affection but death.
I previously indicated that I formed a visual language of “hybridization” by blending heart and skull into each other. Hybridization can be described as “experimental mixing of elements”. In this case, heart and skull form a different meaning by coming together. The surrealistic language which I used in this work bears a parallelism with “The Great Family” and “Notre Sabena” works of Magritte which I will be analyzing in the forthcoming pages of my research. (Please see pages 250 and 251 for the analyses of these works). In his work “Notre Sabena”, Magritte especially pictures the blue sky in a pigeon’s silhouette and places the literary information at the bottom of this image. As the background of the pigeon is left black, the cloudy pigeon is presented in a striking and effective way. If I am not mistaken, Magritte identifies the cloudy pigeon with Notre Sabena Airlines. The comparison of the airlines with a free bird forms a figurative expression. On the other hand, in my poster I tried to form a representational concept by bringing two elements being the heart and the skull together. In both of these works a different meaning is formed with the combination of more than one element. This method forms the fundamental approach of these two different works.
In his “Notre Sabena”, Magritte designs the pigeon and the sky, which are in a harmony and positive relationship with each other, within the framework of the “hybridization” visual language. Similarly, I visualized the heart and the skull together forming a negative relationship with each other. While the opposite relationship between the images renders the meaning of my work more negative, the images in Magritte’s make the meaning more positive and attribute a lyrical feature to it. I pictured the images in my poster work in a plain reality of illustration whereas Magritte’s work was more realistic and detail oriented. The new symbolic images formed in both works bear striking, strong, absurd and different figurative meanings. Besides, such images create an effect of dynamism, energy and curiosity in the works. As a result my poster work titled “America and Iraq” bears a parallelism with “Notre Sabena” of Magritte on a fundamental basis in terms of visual language usage whereas it differs in technical aspect and serves to a different purpose.
At our present day, we have reached the point of annihilating the nature and environment for our endless needs. This situation paves the way for major environmental problems in the world. For example, increasing gas and petrol consumption due to the escalating human population, deforestation, and sea and soil pollution due to the industrial wastes have all become problems of today’s modern people. Within the framework of the sensitivity of an artist who can think and feel, I felt a general need to make a poster and share my thoughts with people. The “Save Nature, Save Future” poster work of mine shown below reflect my concerns regarding this situation.
In this work I used the baby figure in order to symbolize the human beings and their future. I used the butterfly figure to represent the fragility, delicacy and surprising beauties of nature. I formed a visual language of “hybridization” within a conceptual framework instead of using these symbolic figures separately and I placed the slogan of “Save Nature. Save Future.” right at the bottom of the image covering 2/3 of the poster work. The main theme or idea at the poster image is the placement of the circular dots at the bottom of the right and left wings of the butterfly as the eyes of the baby. I presented an unexpected appearance in the poster by combining one of the suitable butterfly species in the nature with the eye form on the face of a baby. By doing so, I tried to create interest and attractiveness. I made some manipulations in color and form to create a visual effect on the appropriate images by scanning them at the computer after I developed the idea of replacing the baby’s eyes with the dots on the wings of the butterfly. In order to make the meaning of the poster image more clear and give a direction to it, I added the slogan at the bottom of the image. In this case the meaning of the poster might be interpreted as follows: Protecting and strengthening the nature and the environment is a necessity and obligation for the future of the humanity. The survival of the human beings and the existence of the future generations are only possible with the protection of nature. The fact that the dots of the butterfly enable the baby to see can be thought of as a complementary relationship between the human and the nature. Besides, the togetherness of the baby and the butterfly images creates a humorous, joyful and positive effect. The poster image and the slogan support the thought that has just been summarized.
The “hybridization” and the “big and small” visual languages formed by the baby and butterfly images bear a parallel relationship with Magritte’s “Rape” (please see page 175 for a more detailed analysis of this work). In his work, which is a woman portrait, Magritte pictures the eyes and the mouth of the woman as her breasts and her vagina respectively. Magritte’s picturing of the sexual organs of the woman in the portrait renders the artwork problematic. The visual approach and method in Magritte’s “rape” are especially in close relationship with my poster work of “Save Nature. Save Future”. In Magritte’s portrait, the eyes and mouth replace other organs and similarly in the image of my poster work the eyes of the baby are related with the dots that belong to the butterfly. Within this framework, we can say that these two works differing from each other in technical and lingual aspects have similar features in terms of visual approach method and semantics. While Magritte pictures his thoughts in oil painting, I completed the image in my poster with photo-collage technique at the computer.
The eyes and vagina in Magritte’s portrait are presented as an ordinary part of the portrait. Thus, it is possible to evaluate the visual language of this irrational and absurd portrait as a process of “metamorphosis”. On the other hand, although there is irrationality and absurdness in my portrait, the relationship of symbolic images can be thought as “hybridization”. The baby and butterfly are put together without transforming baby and the butterfly into each other. The relationship and togetherness of the butterfly and the baby are the black circles which form the “dots” of the butterfly. The portrait in Magritte’s work completes the transformation of the breasts and the vagina in a smoother and more flexible way. For this reason, we can accept the portrait as a whole with the other features. What bothers us is not the integration of the features in the portrait but rather the existence of the sexual organs that we are not expecting to see in the portrait. In both of the works the images form a concept by being together. The method that forms this concept is the new meaning which arises as a result of togetherness of different elements.
The design of the dots on the wings of the butterfly as the eyes of the baby and its surprising effect create a humorous and entertaining appearance for a moment. The “Save Nature. Save Future.” slogan in the poster directs the relationship between the baby and the butterfly into a specific meaning. As Magritte’s work was produced mostly with artistic concerns and lacks specific slogans, it is broader and more obscure in terms of meaning. The slogan and the image had to be integrated and completing each other semantically in order to communicate the environmental and natural concerns in my poster work to the viewers in a more explicit way. Therefore, I had to present what I wanted in a more clear, explicit, entertaining and surprising way.
I would like to analyze another work of mine called “The Truth: Smoking kills”. It is about smoking and its harmful effects which is another universal problem of humanity.
I placed the visual image of this poster, the smoking end and the skull, in the middle of the slogan consisting of two words which are “The Truth:” and “Smoking Kills”. Just like in the other posters, the slogan forms integrity by being presented with the meaning of the poster image. In the poster image, I tried to form a relationship between human and smoking by placing a skull at the top of the smoking end and used the visual languages of “large and small, large and high” and “hybridization”. The semantic relationship between the smoking end and the skull in the poster image is a result of manipulation. The impression created by the skull placed at the top of the smoking end is the continuity of these two elements into one another. The visual relationships between smoking and skull are not realized directly but rather semantically. For example, the relationship between cigarette and the skull is not the kind of relationship between the sky and the pigeon in Magritte’s “Notre Sabena”. The cigarette and the skull, which are thoroughly unrelated with each other, are presented within a concept by being evaluated. Although the visualization of the top of the cigarette in the form of a skull and the integrity of these two elements with each other are not possible phenomena in realistic life, we can understand the meaning and make a realistic interpretation.
The figures and objects in three poster works analyzed above bear close parallelism with Dada & Surrealism movements especially on account of their “absurdness”, “irrationality”, “humorous” and “incongruous” relations. The “hybridization”, “big and small” and “metamorphosis” visual languages which I mostly apply in my works are also related with the works of Dadaist and Surrealist artists. Max Ernst, Magritte, Dali and Man Ray, the artists of these movements bring together more than one element to create “absurdness” and “irrationality” while forming the images in their works. This approach is still applicable in today’s modern poster art as well as in my own poster works. The “irrational” works in which Dadaists and Surrealists reflect their personal feelings and thoughts are presently used in the poster art with similar method and techniques. While the images in the works of Avant-Garde artists preserve their obscurity, the literary slogans added to the images in my poster works provide assistance in analyzing the meaning of the poster.
Photo-montage or collage works of art were produced during the period of artists such as Max Ernst, John Heartfield and Man Ray whose works I analyzed in this research within the framework of cutting and pasting facilities. We can say that understanding the relationship of the images with each other in my poster works created within the facilities of today’s computer environment and the technical analysis will be easier and less problematic in comparison with 1930’s. We can also say that, despite such technological differences, there is considerable similarity in terms of the visual language of images between some of my poster works and those of Dada and Surrealist artists.
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Translation education
Bachelor's degree - Bogazici University - Istanbul/Turkey
Experience
Years of experience: 25. Registered at ProZ.com: Mar 2007.
I have been working as a freelance translator, editor and proofreader for over 12 years and hold a BA in the field of Translation and Interpreting (English <> Turkish) from Bogazici University, Istanbul, Turkey. I believe that accuracy, fluency and punctuality are the three main elements of a high quality translation service. While translating, I view each word as a micro-cosmos consisting of so many semantic features and consider my job to discover the dynamic relations of words with each other and re-create that relationship in a completely different language.
In addition to my BA in Translation & Interpreting, I have an MBA from Istanbul Technical University which enables me with in-depth understanding of business, finance and marketing related matters.
One of the most enriching experiences in my career was my employment at McDonald’s Turkey for two years as an in-house translator and interpreter. During this time, I provided ongoing translation and interpreting services to the expatriate directors in all aspects of business as well as interpreting for lobbying with the high ranking government officials.
I also had the privilege of interpreting for the World Bank consultants at the negotiations with the Prime Ministry for the fundraising of MERLIS project. My interpreting experience also encompasses miscellaneous technical and medical meetings.
I am a firm believer in the fact that a translator should not be limited to one specific field but explore different contexts for a more challenging professional improvement and satisfaction. My confidence in working at different fields from art to IT stems from my strong background in translation education at Bogazici University.
From time to time, I like to play with the words and use them as a mirror to reflect my thoughts. For this purpose, I write on my blog www.EarthisHome.net. To have an idea about my writing skills in English, you are welcome to visit it.
Thanks for taking time for getting to know me more.
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