(Why do artists pose in front of their work

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(Why do artists pose in front of their work? What does this convention, so prevalent in Ha's photographs, reveal about the mysteries of the creative act? It's true that some dress in similar palettes; and others, fond of geometric forms, boast protruding jaws and cheekbones; while sculptors of large spheres are often wonderfully round; and dematerialists so slight that they’re prone to disappear into the wallpaper…)

(Still, mimesis is not the answer. An artwork, unlike a child, has no obligation to resemble its maker. So what other explanation could we give? Is our need to see the actual artist like the need to see his home, his studio, his various tools and effects? To stand in the room at Stratford-upon-Avon where The Bard ((tangled web of authors though he may be)) is said to have been born and raised? Do we experience a rush of creative genius far superior to what comes from the page? Might we, for a moment, be possessed?)

(I want to channel the artists in Ha’s contact sheets: the woman near her watercolors of construction cranes, the man with his birdlike sculpture. But the pictures won’t let me. It’s not in their nature to let me. Photography seeks to preserve reality by arresting and abstracting reality, turning all artists ((round or sharp)) into handsome, leaky vessels.)

(藝術家為甚麼會站在自己的作品之前,擺姿勢拍照?夏爺的照片中,他們幾乎無處不在。它想要揭露藝術創作的哪些奧秘呢?可以說,其中一些人的衣着顏色與作品相近;另外一些喜歡幾何形狀的藝術家,剛好擁有誇張的下顎和突出的頰骨;大型球體雕塑藝術家往往圓潤;而崇尚非唯物主義者,往往輕薄得可融入背景之中……)

(可是, 單說模仿並沒法滿足求知之心。藝術品不是誰的孩子,它沒有義務模仿自己的創造者。那我們還可以怎樣解說呢?我們對看見藝術家「真身」的慾望,有多大?如同希望窺視他的家和工作室、希望一睹他們各種創作工具和財物的渴求一般強烈嗎?站在那個據說是莎士比亞((雖然他可能只是眾多作者共用的一個筆名))出生和長大的斯特拉福鎮房間之中,是否就能感受到一股遠比純粹閱讀更強大更令人驚艷的創作才華呢?我們有沒有可能,一時之間,誤解形勢走火入了魔?)

(我想引導夏爺相辦中的藝術家:那個站在她起重機水彩畫旁邊的女人,或者是那個和他鳥類雕塑一起的男人。可是照片就是不讓我這麼做。本質上,他們沒有容許這個選擇。攝影通過捕捉真實,或讓真實變成虛幻,以求保存現實;它將所有((圓潤或尖削))體型的藝術家,都變成半人半魚的盧亭後人,魔幻的真人類,紀實鏡頭下顯得俊美而突兀。)