PARIS.- Galerie Alberta Pane is presenting Geometric Secrets, a solo exhibition by the Italian Austrian artist Esther Stocker, across its two Paris spaces from 29 May to 25 July 2026.

An internationally renowned artist, she has exhibited her work in major museums, galleries, and foundations, and has collaborated on several occasions with the worlds of fashion and design, extending her artistic practice across numerous media and fields of expression. The visual language she has developed is grounded in rigorous geometric structures that unfold through painting, sculpture, and installation mediums that are deeply interconnected. Her installations function as three dimensional projections of her paintings, conceived exclusively in black, grey, and white.

Heir to Geometric Abstraction, the Gruppo T, and the Op Art movement of the 1960s, Esther Stocker continues to explore optical vision and spatial perception through a contemporary and socially engaged approach influenced by new technologies.

At first glance, her works appear to embody a stable, almost relentless order. They are organized according to precise systems built from endlessly repeating modules that establish an apparently regular visual rhythm. Yet this order is never fixed. Subtle shifts, discreet ruptures, and anomalies disturb the composition and alter its reading. As i n s i x te e nt h - ce nt u r y Ma n n e r i st architecture, the intrusion of accident into optical balance creates surprise and emotion, disrupting both order and flatness. By introducing imperfection into the heart of ordered constructions, the artist plays with the mechanisms of perception and reveals the fragility of the frameworks we consider stable.

For this exhibition, Esther Stocker presents new paintings and sculptures in which geometry becomes the very principle of a visual language capable of simultaneously structuring and destabilizing perception.

Esther Stocker's work consists mainly of paintings and installations in an abstract and geometrical perspective, the two genres being closely related to each other. The artist's installations are three dimensional projections of her paintings, exclusively made with a limited palette of black, grey and white. Could they be described as spatial, sculptural paintings or rather as pictorial spaces?

Her research focuses on vision and perception of space with a social and contemporary approach. The creation of her pieces is connected to a highly elaborated mathematical discourse, an essential part of her artistic method. The artist's reflection is focused on the question: "How is a perfect system actually imperfect?". Her geometric structures are based upon eternally self-repeating modules that create a seemingly ordered visual rhythm, to which she adds aberrations in order to generate an adjacent but new rhythm. This introduction of deviation in the optical balance creates surprise and emotion through the purposeful disruption of order and plane dimension.

Esther Stocker studied at the Academy of Fine Arts in Vienna, the Brera Academy of Fine Arts in Milan and the Art Center College of Design in Pasadena, California. She regularly exhibits in international museums, foundations and galleries. A selection of her exhibits includes venues such as: Museum Haus Konstruktiv (Zurich, Switzerland); Museum of Perception - MUWA (Graz, Austria); MAXXI - Museo nazionale delle arti del XXI secolo (Rome, Italy); Mondriaan House (Amersfoort, The Netherlands); Fondazione Alberto Peruzzo (Paduva, Italy); Museum Ritter (Waldenbuch, Germany); Art at Fuliang Festival ( Fuliang, China); barth (Bressanone, Italy); Changwon Sculpture Biennale (Changwon, South Korea); Museo Vasarely (Budapest, Hungary); Museo Gegenstandsfreier Kunst (Otterndorf, Germany); LA BF15 (Lyon, France); Setouchi Triennale (Setouchi, Japan); Kunsthalle Bratislava (Bratislava, Slovakia); Italian Embassy (Vienna, Austria); MACRO - Museo di Arte Contemporanea di Roma (Rome, Italy); Georg Kolbe Museum (Berlin, Germany); Künstlerhaus Hannover (Hannover, Germany); CCNOA - Center for Contemporary Non-Objective Art (Brussels, Belgium); Museum Moderner Kunst Stiftung Ludwig (Vienna, Austria), Sharjah Art Museum (Sharjah, UAE).

Collaborations with the world of design and fashion include those with Flora Miranda for Cyber Crack (2020), a runway show held during Paris Fashion Week (2020), with BMW Japan for the Setouchi Triennale (2019), with Eider for the 2018/19 winter collection, with Kohlmaier Wien for the International Contemporary Furniture Fair (ICFF) in New York and with Iris van Herpen in Milan (2018).

In 2020 she won the Aurélie Nemours prize.