"Even the sky cannot escape geometry as it is now organized by the urban frame for which it only represents an interstice, a cut-out figure. Man is a geometric animal" say Ozenfant and Jeanneret1.
Man as a geometric animal is a paradox that perfectly fits Sandro Della Noce.
Indeed we imagine the animal endowed with an unhindered instinct, a constantly renewed invention for survival whereas Geometry relies on laws to rule space and never parts from its principles.
In Sandro’s sculptures, the animal and its mighty powers meet the surveyor (Pique-nique à Hanging Rock, 2007); working drawing meets the tool (East Tractor, 2007). In For Us By Us (2009) a boxer short (without which nothing but nakedness) meets the geometry of a slippery black plateau in the shape of a plane-parallel tongue. These sculptures are made of planes and straight lines.
But here, straight lines do not vanish towards the horizon nor do they extend to the infinite. Unlike this form of sculpture referred to as "space writing" (Picasso or Gonzalez in the 30’s /David Smith in the 50’s), they bend and form angles which close spaces, determine frames, draw signs, and in the case of Sec (2009) lead to a self-supporting structure in a Lacanian phantasm of "the other" being myself, "the other" of that very sculpture being what bears it, what transports it, the sculpture being what is transported.
In that very piece the tool for displacement and the object to move have merged, just as the mirror allows to fuse – look and be looked at – subject and object. This might be the reason why the cut-out surfaces – "the harsh and metallic arms" define – are empty, transparent as glass somehow. And therefore, only the viewer’s projection can allow them to exist.
In Sandro Della Noce’s sculptures, captions become a metaphorical index card, most particularly in Sec where they contain all the artistic expectations and necessities peculiar to Sandro’s work.
Dry Joyce, Anita Molinero, July 2009.
1. A.Ozenfant et Jeanneret Formation de l’ optique moderne