The paintings, murals and installations of Esther Stocker, 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.
