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                <text>Serie Paisajes que son como gritos</text>
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                <text>Angú Vázquez</text>
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&lt;div style="text-align:center;"&gt;&lt;em&gt;                     &lt;/em&gt; &lt;br /&gt;                                                                                                                        -Liliana Porter, 2009&lt;br /&gt;&lt;br /&gt;&lt;/div&gt;
In this screenprint, the photographic apparition of a woman’s hand appears to make contact with a heavily-contoured, art-school study of a jug, sphere, and pyramid. Where these two illusory worlds meet, they seem to transfer their qualities onto one another, the finger leaving a blue print on the jug, the jug coating the fingertip in its creamy hue. Neither illusion is real, of course; they are the material facts of various inks on paper. For five decades, Porter has explored the radical possibilities of printmaking as conceptual art. Here she exploits the serigraph, a process by which each color is hand-applied through a separate silkscreen, to combine very different kinds of representation in a single space. The resulting image becomes a metaphor for the human body’s uncanny experience of encountering the world, the ways in which we endow objects with identities and interiority even as we become increasingly estranged from ourselves.</text>
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