1. Orshi Drozdik is influenced by Valeria Dienes, Janos Zsilka, Susan Sontag, Ludwig Wittgenstein, Luce Irigaray, Walter Benjamin, and Michel Foucault, among others.

1. Orshi Drozdik is influenced by Valeria Dienes, Janos Zsilka, Susan Sontag, Ludwig Wittgenstein, Luce Irigaray, Walter Benjamin, and Michel Foucault, among others.
Orshi Drozdik's working method: critical analysis of meaning, influenced her contemporaries, her students and later generations of women artists.
The art historian Laszlo Beke noted in an interview realized by Kata Krasznahorkai in 2017 that "Orsolya Drozdik is the first feminist artist in Hungary".
Orshi Drozdik studied art at the Hungarian University of Fine Arts, in Budapest.
Orshi Drozdik holds an MFA 1977 and PhD in Liberal Arts 2003.
Orshi Drozdik searched for meaning and significance in her personal experiences; combining the textual with the visual.
Orshi Drozdik photographed and "appropriated" these photo-images for her concept ImageBank; a semiotic study of patriarchal art history, academic training, -education; an image analysis of appropriated images; projected, manipulated and unmanipulated; these were exhibited: NudeModel, and Individual Mythology.
Orshi Drozdik lived in Vancouver, Toronto and New York City between 1979 and 1991 with the novelist Patrick McGrath.
Orshi Drozdik photographed the displays in European and American science museums, resulting in the series of photographs titled Dystopium Infinete.
Orshi Drozdik exhibited at the Tom Cugliani Gallery, the Richard Anderson Gallery, and the New Museum, 1989,1991, Age and at the 9th Biennale of Sydney in 1992.
In 2006 Orshi Drozdik published a book titled Individualis Mitologia, konceptualistol a postmodernig, a summary of her thoughts, methodology and work process, focusing on her starting point the 1970s conceptual movements in Hungary.
From 1989 Orshi Drozdik used models of her father's brain as part of a sculptural installations.
Orshi Drozdik continued to produce and exhibit feminist work, and deconstructing the patriarchal, scientific gaze, including, in 1986, inventing the 18th Century pseudo-persona of Edith Simpson,; a woman scientist complete with her own heritage.
Orshi Drozdik's installation series entitled Manufacturing the Self is a deconstruction of medical representations of the female body.