Esther Stocker returns to Rome with the first solo exhibition at OREDARIA Arti Contemporanee after Common Destiny, the environment installation set up at MACRo – Museum of Contemporary Art of Rome – with the collaboration of OREDARIA. Stocker’s art is all along focused on the survey of the laws related to the visual perception, but she does not simply transpose their postulates onto canvas or into installations; rather she uses them like “instruments” to be exploited in order to broaden the messages that the works can convey. As the artist says: “Even if we don ́t know it, we do have expectations of forms, we expect them to behave in a predictable manner. Personally, I am fascinated by the way in which we recognize these expectations only when they are not fulfilled.”

The title of this show - In Defence of Free Forms – is therefore an effective statement that contains a reflection upon her whole career and, at the same time, epitomizes a breakthrough on her artistic goals. What free forms are? The artist answers with the installations presented in this show; she displays also new canvases that represent a new development of her well known expressive characteristics.
The artist passes from two-dimensional surfaces to the environment installations with conceptual and formal coherence. The entrance space of the gallery is occupied by the installation In Defence of Free Forms - part 1.
The elements lead the eye toward the central vanishing point of the corridor. Nevertheless the lines are fragmented and in some points they gather themselves creating shapes almost completely defined. Therefore, these lines have freedom compared to the geometrical order that our eye would expect from them.
The gradual spread of the fragments presented in this installation leads to the canvases – paintings from the past two years as well as a selection of Stocker’s latest works, which are on public view for the first time. Combining the interest in free forms with her previous investigations into the formal potential of grids, these works expand on the themes of the installation and mark an important departure from some of the strictures of her previous paintings .
These works are complemented by In Defence of Free Forms – part 3, a wall installation located at the end of the third nave of the gallery space, which extends the artist’s ongoing practice of working in both two and three dimensions.

In Defence of Free Forms – part 2 is the final installation of this show. Using a meticulous organization of black threads, the artist has arranged the title of the show within a specific exhibition space. Here the written language becomes a spatial structure. The free forms of the latest canvases find a possible origin from those that visually are created in this installation.
Spaces and environments create thoughts. This is the main point of Stocker’s work, a research concerning how the experimentations related to geometry and its formal contradictions may produce new visual spurs, existential experiences and interpretations related to our own imagination.

INTRO

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