Esther Stocker’s exhibition at the Galleria Museo is divided into two sections. A structure at the front illustrates an organisational principle that is characteristic of many of the artist’s works: an internal, geometrically structured space, adorned with square shapes, yet resulting in a grid with fractures and movements. The decoration of the surface, which is apparently simple, precise and rigorous, is actually disorientating because the observer cannot fix his/her gaze at any one point.
In the rear section, the artist exhibits a series of photos in which she analyses the relationship between the features of the human body and geometrical shapes.
With her works, Esther Stocker does not aim at producing immediate significant contents. Her structures, which are both simple and complex at the same time, surprise the observer already during the perceptive process, making him/her refrain from making schematic classifications, rational interpretative schemes or brief readings, and hence awakening an almost frenetic attention for all that cannot be clearly defined.
The theme that ties the artist’s works together is the question about the perception as movement in which it is not possible to define, and above all, formulate a clear boundary between visual perception and thought.
Even though at first sight Esther Stocker’s works may seem linked to historic Op-Art works, the artist is in no way interested in experimenting with optic effects in themselves, but in continuously redefining things through the perception process. During this process, even those who come in contact with the space and image situations are involved, becoming an element of completeness of the work itself.