© ANNE BARLINCHKOFF Images , used with permission
In the Name of Love
The Rule and the Exception
Following her recent exposition at the Kunsthalle Palazzo de Liestal in Switzerland, and for her third show at the Galerie Alberta Pane in Paris, the Austro-Italian artist Esther Stocker is offering new paintings and sculptures as well as a very original exhibit.Fascinated by the “shortcomings of precision,” the artist confounds rules and regulations with infinite flexibility. We discover this strategy in both her paintings and her abstract sculptures. Her formal grids, once formatted by the precursors Mondrian and Malevich, with their straight black or white lines, horizontal or vertical, are laid as an artificial foundation to move them away from a realistic world or object. Her grids are constructed, with the aid of Scotch masking tape (to protect their shape during construction), to offer a dimension with an unstable equilibrium. Indeed, the artiste modifies her basics by line interruptions or by geometric breaks. They are then placed on walls, ceiling or on the floor. The onlooker finds himself suddenly floating in a series of illusions. To speak of this variable geometric artwork, Esther Stocker uses her own terms, such as “visual noises.” Rather than project harmony, which would create a visual “sound,” she superimposes a perceptual dissonance. Between its normal rigidity and its circuitousness, this spatial geometry never ceases to stagger, to disappear and to be reborn in an imaginary dream which transcends the usual standards accepted within the fundamentals of abstract art.
About the Author and Translator Translator Hélène Gaillet de Neergaard is author of “I WAS A WAR CHILD” Memoir of World War II. She was nominated for the PushCart Prize 2015. You can read more about her in About Us. http://www.iwasawarchild.com *** Jean-Paul Gavard-Perret is the On Location/France contributing editor. You can read more about him in About Us.