Esther Stocker: Analisi dell’errore (Analysis of the Error)

From May 17 to September 28, 2025, the Tenuta Dello Scompiglio hosts Esther Stocker’s solo exhibition titled Analisi dell’errore, curated by Angel Moya Garcia.

The term error calls to mind the concept of wandering, of deviating from a path, the departure from logical principles, from knowledge or commonly accepted rules, the abandonment of the right way, the violation of a rule that results in a sanction or the failure to carry out a previously planned action. Although it is often seen as a disabling social stigma, a measure of our incompetence and incapacity, we must accept the inevitability and usefulness of the error as a source of information, knowledge and learning as it shapes and modifies the structure of neurons creating new and unprecedented connections between the human being and their surrounding reality.

Esther Stocker’s exhibition Analisi dell’errore fits into this context, in which the artist once again highlights her attraction to formal paradoxes and shifts in optical balance, investigating utopia and failure, reality and perception, objectivity and subjectivity. Although in the past, her research often sought to defend or underline the concepts of anarchy, irrationality or freedom in fixed or overly rigid systems, current events have led her to question the need to return to a certain form of rationality. The exhibition presented at Tenuta Dello Scompiglio is arranged with an environmental installation in the main space and a series of paintings in the adjacent one. In the latter, a succession of disturbing elements and interferences, which challenge and question the limits of order and perceptive regularity, introduce the main installation in which a large grid of black adhesive tape on a white background completely overwhelms the environment in which it develops. An infinity of orthogonal lines gives rise to a sequence of seemingly regular geometric elements, intercepting the visitor’s gaze and creating an interference device that seems to undergo a process of progressive loss of definition.

A project articulated as a system of openings: forms that seek to affirm a certain settled, normalised, unassailable and objective cadence that is subverted by the intrusion of minimal distortions. A theorically perfect system, but overrun with imperfections and changes in expectations, in which logic, intuition, rigour and fantasy, inherent to the mathematical method, become indissoluble categories. The whole, made up of eternally repetitive but irregular modules, creates an apparently ordered visual scan to which the artist adds anomalies or exceptions that attract attention to generate a rhythm that reminds us how the subjective perception of a larger system can be defined, however, only through reciprocity and a shared consensus of intentions, visions and objectives.

In this way, the abstraction and geometry that characterise Esther Stocker’s work are projected through two parallel tracks that join together: in the installation, as a spacial painting or as a pictorial space that expands, while in the paintings, as a static synthesis that concentrates. The detachment from an order, the free forms interpreted as desire, the role of imagination, open logic, ambiguity and uncertainty of a system, the presumed mathematical precision and the relative rupture, as well as the awareness of wanting to question the elements that we know and take for granted, shape a context in which to question the principles followed and accepted as dogmas, to seek a new paradigm that can reorder our knowledge of the reality in which we live.