Q: Who can I contact for more information?
Direct inquires to:

Toni Narducci, artist's daughter
(718) 216-8145

Q: Why did Narducci refuse to exhibit, and instead embrace a hidden and unknown career, outside the well-known circle of his colleagues - de Kooning, Pollock and Kline?
He was influenced by a combination of early career factors: A fresco work that was nominated for a "Prix de Rome" was destroyed by jealous fellow art students. A substantial number of his early art works were essentially stolen when the art dealer to whom they were entrusted went missing.

Later, growing agoraphobia and sensitivity to the cold kept Narducci in his studio.

He also felt strongly that commercial success could steal an artist's independence.

Q: What are the differences between Narducci's early decades of abstract expressionism, and his later works from 1985 to 1999 called quintessential aesthetics?
Narducci's earlier decades of work in abstract expressionism were expressed through a myriad of traditional mediums in which he had been highly trained - i.e. oil, fresco, acrylic, watercolor, pastel, crayon, charcoal, pencil and sculpture. Narducci said, "this art form is a step in the right direction - we (abstract expressionists) had finally lifted one foot off the ground."

In 1984-85, Narducci said, "I had succeeded in finally lifting both feet off the ground . . . by taking abstract expressionism a step further along the direction it had gone in." This breakthrough culminated in Narducci's personal life-long search to, "find a way to enter nature from the back door."

Creating a new technique, Narducci mixed acrylics with rainwater, ink and ammonia (elements from nature). Working in a totally intuitive way, his paintings became jewels of color, dancing compositions of lightness, bursting with lit-up vitality . . . finally evolving into huge canvases of discharged energy birthing itself into form. He called these paintings, "quintessential aesthetics," saying to his daughter, "Toni, I think this is the direction painting will go in the 21st century!"

Q: What does "quintessential aesthetics" mean?
Narducci said this term stood for the essence of something in its most pure form. In ancient philosophy it was called the highest element that permeates all nature and is the substance composing celestial bodies. Narducci believed his work spoke in many ways to this phenomenon.

Q: Which actually came first, photographs of deep space from the Hubble telescope, or Narducci's quintessential aesthetics work?
Narducci began his quintessential aesthetics period in 1984-85. Photographs from the Hubble telescope were first noticed in magazines later, circa 1997.

Q: What does the term "cybernetic" mean, and how does it pertain to a very important part of his work?
Cybernetics is the expression of art through electrical-mechanical means. Narducci began experimenting with painting with sound in 1954. He used reel-to-reel recording equipment to create compositions made from sounds he created, sounds recorded from nature, and sounds created from the environment. After composing "Sacra Mantra", he began work on his oil painting, "Nebula".

In the late 1950s, Narducci designed his own video-synthesizer made up of scrounged parts from a TV-FM sweep generator and marker, an Emerson color TV, and silicon cells. He attached his video-synthesizer to a old camera placed on the fire escape outside his kitchen window, facing the sun. He used this to capture photon energy from direct sunlight, which he used to create his cybernetic paintings. His canvas was a round oscilloscope wired to the camera. He then created individual photographic-cybernetic paintings and sculpture pieces.

Based upon one of his cybernetic paintings, "Three Cosmic Women", he sculpted a 6-foot tall, plaster of Paris statue, called "Cosmic Woman", which was wired for sound from the sun's energy. His cybernetic work continued through the 1960s and 1970s.

Q: I am interested in discussing a purchase of a Narducci work of art. How should I proceed?
Please contact Toni Narducci using the contact information shown above.

Q: Who should a gallery or museum representative speak to regarding an exhibition?
Please contact Toni Narducci using the contact information shown above.