“I thought My Son has two Mothers was an intriguing painting. It could be an account of a gay relationship but on the other hand it is probably a Nativity scene with the two Marys present and the 3 Wise Men as geese. It certainly has two fathers. Most obviously Picasso at the inception of Cubism and either late Malevitch or Picabia. It is an original return to the problem of early Modernism in the guise of Post-Modern relativity [it uses that relativity to open up a mystery around the Virgin birth and the identity of the picture with the style of painting]… The painting also feels achingly sincere, while also appearing a little awkward. This makes it immediately interesting. The two mothers configuration could read as an archetype of the Gnostic bible! The self absorption of this painting paradoxically adds to its public effectiveness. Two broad classes of painting-intentionality seem to characterize Sulman contenders; hackneyed professionalism and inadvertent amateurism. The over-determined nature of intentionality invariably means a gap between what is intended and what can be seen. Slight amateurism then can encompass a tremendous potential, but only if one takes risks with the show as a whole.”

Mike Parr, Artist, about awarding the 2005 Sulman Prize at the Art Gallery of NSW – Sydney 2005

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“Even a brief sampling can suggest the quality, at once poetic, rationale of Nocentini’s mind. His explosion of colours, where viewpoints and light sources are multiplied… his touch of cubism where contours are broken, moving away from the austere geometry, toward forms softened by freer brush work… Sandro Nocentini’s style becomes a series of personal variations.”

Simonne Jameson. Art Critic – Paris 2000

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“Stoicizza il suo inconscio attrezzando nel presente necessarie visioni sociali , devolvendole al cosciente ripropone con ordine operosita` e inventiva. Nascente dalla sua anima orgogliosa nel dire coglie espressioni dell’uomo elaborandone i dettagli nel contesto dell’arte, totalizza i prescelti colori informandone la natura, nega ogni disordine irradiando, ovunque, speranza per la funzione del bello.”

Francesco Rocco Arena. Art Critic – Rome 1997

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