the term ‘alike’ may attract our attention, but in fact means nothing at all. (frege)

2004, masking tape on wall, wood boxes, 13, 3 x 5, 6 x 3, 4 m, AR/GE kunst galerie museum bozen

the italian artist esther stocker works with a visually complex repertory of geometric sign and grid systems which explore the general conditions of perception and, in a broader sense, the effects of digital image technologies. her work refers deliberately to the constructivists and op art of the 1960’s.

the work of esther stocker wandarbeit Nr. 8, 2005, acrylic on wall, 380 x 466 cm, wallstreet one, berlin

the artist sometimes extends this space from the structure of the canvas into real, built spaces. ‘a paradox
which has interested me for a long time is the contradiction that arrangements of precise geometric shapes
can produce ‘vague’ visual perceptual events…

the work of esther stocker silo barth, 2006, nitro-cellulose lacquer on iron, 15, 7 x 21, 5 m, brixen/bressanone

this can be caused by minimal interventions or changes within a regular structure, as for instance by omitting a square, introducing gradations or a slight shift of some of the forms.‘ read more via galerie im taxis palaisthe work of esther stocker

by a formal point of view a wall exists only as surface, as delimitation of body and space and a wall doesn´t know anything about the other one. (feldtkeller) 2006, black dispersion and white masking tape on wall and floor, 7, 05 m x 6, 20 m x 4, 15 m ca., galleria contemporaneo, mestren

via bevelandboss