his listeners. I am pleased to recommend him for any position where he could share his skill and knowledge of painting."

 

2. Sandra D. Rupp, Art Director, Hampton III Gallery, Greenville, SC:

"I organized my first exhibition of Janusz Zadurowicz's paintings in the summer of 2000.

The Polish artist filled the walls of my Southern gallery,

mixing works created in his native land with the newer paintings conceived here in S.C.

The personality of this gentle artist, the softness of his speech,

the elegance of his movement translated onto the two dimensional plane, depicting his unique vision.

Warmth of colors reflected the Southern climate

that he has called home for the last six years. Forms articulated emotions common to all races.

Each day I faced his work and observe as others respond to his handiwork.

Each grabs his own piece, each part opening the whole, and the viewer has a new thought."

 

3. Margaret Hawkins, "Chicago Sun-Time", May 24, 1996:

"Zadurowicz is a artist whose magical little paintings resemble the whimsical abstraction of Paul Klee.

Each is a kind of jewel box of colors and symbols

with hieroglyphiclike markings scratched into paint and wobbly geometry floating in

dense encrustations of colors. But Zadurowicz's technique

belies the apparent whimsy of his imagery. Each small painting is painstakingly constructed,

layered and then scraped and gouged to create

the effect of things uncovered, of meaning beneath the surface...

"On the Opposite Bank" glows with juicy, sunny reds and oranges,

punctuated with chunks of sky blue and black. Little houses appear and dissolve into

the mosaic of colors, but mostly this work is about

the visceral sweetness and power of colors as they are laid down, piece by juicy piece, next to each other."

 

4. Fred Camper, "Chicago Reader", May 17, 1996:

"The vocabulary of the multilayered paintings by Janusz Zadurowicz

at the Society for Arts is typical of modern abstract art: there are geometrical

forms, irregular checkerboards of color and line, biomorphic shapes,

soft-edged colors bleeding into each other. His work also refers to past cultures:

We Were Like in a Dream includes abstracted classical columns,

a large triangle that suggested a pyramid (Zadurowicz has visited Egypt), and Roman

letters and Arabic numerals. But these forms come together to create

an almost magical sense of enchantment. Their wonderful mix of regularity

and irregularity - the lines are not quite straight, the shapes

a bit askew - helps keep them alive, suggests a human hand inventing rather than

copying. Zadurowicz is less interested in simple compositional unity than

in the complexity of individual areas; his paintings become a kind of

environment in which the eye is encouraged to wonder."