The Jar on the Table consists of the installation of nine canvases hung above a line of nine identical white tables. The canvases, painted on a life-size scale, represent nine different views of a white pitcher on a table. This work alludes in different ways to the technical conventions and the history of the still life. Through her representation of the different points of view obtained by moving around a fixed model, Guilisasti both refers to the Cubists’ pictorial experiments based on the still life and uses the traditional technical methods that characterize this genre, seeking the correspondence and the extension of
the relationship between the paintings’ model and their exhibition space.
However, The Jar on the Table does not locate itself in the space of simulation, the realm of trompe l’oeil, but in the fissure that exists between that which we have seen and that which we cannot wholly reconstruct in painting. Although the tables are a visual vestige of the place that pitchers like the one depicted originally occupied in bedrooms and bathrooms, the canvases never insert themselves into the space of the show, nor do they tie themselves to their medium, remaining, with their maroon base and the white cloth, representations of a model that can never be reproduced.