« A painting is there to be seen. It has no other purpose, and we can see it only in the first person. There is no third-person view, no objective He hovering above the image looking at it. The first-person experience is an embodied one. I don’t only bring my eyes or my intellectual faculties or my emotions to a picture. I bring my whole self with its whole story. The relation then is between an I and an it, but that it partakes of the artist’s being as well, his entire being, which is why we treat art in a different way from utilitarian objects like forks, no matter how attractive those forks may be. My position is a phenomenological one: looking at art can’t be separated from our lived experiences of the world, and the image exists in my perception of it.” The Drama of Perception, p.233-234, Living, Thinking, Looking, Siri Hustvedt
“But when we love a work of art, there is always a form of recognition that occurs. The object reflects us, not in the way a mirror gives our faces and bodies back to us. It reflects the vision of the other, of the artist, that we have made our own because it answers something within us that we understand is true. This truth may be only a feeling, only a humming resonance we cannot put into words, or it may become a vast discursive statement, but it must be there for the enchantment to happen – that excursion into you that is also I.” Embodied Visions What Does It Mean to Look at a Work of Art?, p.354, Living, Thinking, Looking, Siri Hustvedt
Je pensais commenter ces deux citations, mais finalement il me semble qu’elles parlent de soi et que le lecteur habituel verra par lui-même pourquoi elles sont pour moi précieuses!