Esther Stocker "Abstract Thought is a Warm Puppy"
09 May - 18 Jun 2008
Esther Stocker
Was sind das für Dinge, die wir voraussetzen? (Quine),
Raumarbeit, Holz
8,5 x 4 x 3,2 m ca.
2005
Ausstellungsansicht Galerie Krobath Wimmer, Wien
Was sind das für Dinge, die wir voraussetzen? (Quine),
Raumarbeit, Holz
8,5 x 4 x 3,2 m ca.
2005
Ausstellungsansicht Galerie Krobath Wimmer, Wien
CCNOA is pleased to present the new large site-specific installation entitled Abstract Thought Is A Warm Puppy by Italian artist Esther Stocker in our main space, a retrospective of collaborative works by Alexandra Dementieva (RU/B) & Aernoudt Jacobs (B) in our multimedia space as well as new works by Sacha Goerg (CH/B), Clemens Hollerer (A), Michal Skoda (CZ), and Justin Andrews (AUS) in our project space.
The paintings, murals and installations of Esther Stocker (*1975 in Silandro, Italy; lives & works in Vienna, Austria), based on grid structures and on the colors black, white and gray, consistently manifest entanglements, interconnections, interpenetrations, both semantically and formally, for which the variably deployed grid motif functions as a metaphorical logo. Stocker consistently breaks with one-dimensional notions of order, space, and painting as contextual and relational factors and concepts. When an artist so persistently preoccupied with spatial structures and spatial experience, simultaneously calls attention to the fact that „we know nothing about space“ (Stocker), then her stance would seem to testify to a productive skepticism which arises from unremitting and methodical attempts at understanding, and from insight into their-in principle-interminability. (Excerpt from Systematisch gebrochene Systeme, Rainer Fuchs)
www.estherstocker.net
The paintings, murals and installations of Esther Stocker (*1975 in Silandro, Italy; lives & works in Vienna, Austria), based on grid structures and on the colors black, white and gray, consistently manifest entanglements, interconnections, interpenetrations, both semantically and formally, for which the variably deployed grid motif functions as a metaphorical logo. Stocker consistently breaks with one-dimensional notions of order, space, and painting as contextual and relational factors and concepts. When an artist so persistently preoccupied with spatial structures and spatial experience, simultaneously calls attention to the fact that „we know nothing about space“ (Stocker), then her stance would seem to testify to a productive skepticism which arises from unremitting and methodical attempts at understanding, and from insight into their-in principle-interminability. (Excerpt from Systematisch gebrochene Systeme, Rainer Fuchs)
www.estherstocker.net