Andrew Zdanovich, 36 views of a house struck by lightning 1, 2020.

Andrzej Zdanowicz (b. 1960, Poznań),
36 views of a house struck by lightning 1, 2020.
tempera and oil on canvas, 80 x 110 cm

From 1975 to 1979 he attended the Helena Modrzejewska Secondary School in Poznan. He took part in the finals of the National Olympiad of Art Knowledge in 1978. From 1979 to 1980 he studied at the Adam Mickiewicz University in Poznan majoring in Art History. From 1980 to 1985 he studied at the State Higher School of Fine Arts in Poznan. He received his diploma with honors in the Painting Studio of Prof. Jan Świtka. From January 1986, he worked in the Fourth Painting Studio of Prof. Norbert Skupniewicz. Initially as an assistant, and later as an assistant professor of the first and second degree. Since 2007, he has been the head of the Fourth Painting Studio and an associate professor at ASP/UAP. In 2012, he received the title of full professor from the President of the Republic of Poland, Mr. Bronislaw Komorowski. In 2015, he was hired as a full professor at UAP. From 2008 to 2016, he served as Dean of the Faculty of Painting and (Drawing) at the Academy of Fine Arts, now UAP. From 1993 to 2014, he led the Painting Studio at the Teachers' College in Walcz. From 1996 to 1999, he worked as an assistant in the Painting Studio of Prof. Jan Świtka at the School of Applied Arts "Schola Posnanensis" for part-time and full-time studies. From 1999 to 2001 he was head of the Design Interpretation Studio and head of the Drawing Studio for part-time studies at the aforementioned school. He lives and works in Poznan.

About himself:
"The subject of my paintings in the vast majority is struggle. Struggle in the broad sense of the word, because even if I paint a picture treating
about love, a work arises that categorically rejects love without struggle. A Tuscan or other landscape, covered with a grid of traces of past struggles, is an image of struggle. A card game, full of cunning strategy, is a struggle. The form of the painting that is the canvas
and the way the paint is unhurriedly laid down are appearances.
Lurking in the background is the vehemence of the emotions of a painter torn by the force of tradition and the uncertainty of tomorrow. While painting, in the likeness of Alice in Wonderland, I cross another sheet of mirror, behind which lurks, lurking, .... Well, what?"