Alongside these works are Narduzzi’s Linescape paintings, where repetitive linear structures evoke the logic of architectural grids and city plans. These rhythmic works, built up through successive layers of paint, reference both the order beneath the urban surface and the expressive chaos layered above it.

Narduzzi’s Totem sculptures extend his visual language into vertical, modular forms. These stacked, column-like works echo both the physical skyline and the cultural layering found in urban space. As sculptural gestures, they suggest monuments to the built environment, simultaneously referencing contemporary architecture and ancient symbolic markers.

At its core, Urban Archaeology reflects Narduzzi’s fascination with how cities evolve — not just physically, but visually and culturally. Through the repeated act of layering, obscuring, and revealing, Narduzzi creates painted and sculptural artifacts that embody the dynamic tension between construction, erasure, and memory in the urban experience.

About Bradley Narduzzi

Bradley Narduzzi holds a BA in Architecture from Columbia University (1991). In 1992, he received a Solomon R. Guggenheim Foundation Fellowship to study in Venice, Italy, where his interest in architectural surfaces and layered cultural histories took root. Since relocating to Mexico City in 2000,where he opened his first studio, Narduzzi has exhibited internationally, with solo and group exhibitions across the United States, Mexico, Europe, and Asia.

Narduzzi’s practice explores the evolving visual language of urban life—translating eroded surfaces, signage, and architectural forms into layered paintings and sculptures that blend expressive abstraction with structural precision. His work is included in private, corporate, and museum collections, including the Querétaro Museum of Art, the Museum of Contemporary Art in Monterrey (MARCO), and the Antiguo Colegio de San Ildefonso in Mexico City.