(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.)


(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?)