Abadzic was born in Vukovar, Croatia in 1952. His father, recognizing Stanko's suspectibility to the old world charm of this city on the Danube, presented him with a Russian camera on his 15th birthday. Abadzic taught himself the technical basics while refining his vision by attending exhibitions, studying photography books and watching television and films. He joined a photo club, exhibited his early work, and earned money taking pictures of weddins and soccer clubs. Abadzic subsequently joined the staff of the newspaper Vjesnik as a photojournalist, married and started a family. This trnquil existence, however, wa brutally interrupted by the outbreak of Croatia's war of independence in 1991. The dark years of physical and creative displacement ended when Abadzic moved to Prague on a sunny August day in 1995. The warmth of the sun symbolized for Abadzic the city's positive energy. Feeling a sense of rebirth, he began exploring Prague with his medium-format camera, leaving behind the photojournalist and discovering the artist within. The enigmatic beauty of Prague's ancient streets and cul-de-sacs also helped deepen t he sense of misterioso that inhabits so many of Abadzic's images. The furtive pose and voyeuristic overtones of "Curiosity, Prague" transforms a commonplace scene into a Cocteau-like meditation on unconscious urges. Abadzic's head, heart and spirit had achieved perfect alignment through his photography.
Abadzic moved back to his homeland in 2002, settling in the capital city of Zagreb, but retained his Czech residence permit and returns periodically to Prague. He also photographs extensively on the Croatian island of Krk, site of images such as "Brothers, Baska," which eloquently reference our shared humanity. Abadzic continues to create work that registers a positive outlook despite the difficulties of his past and increasing cynicsm currently in fashion. "The mass media bombard us with images of blood and tears, " he states." It's high time we showed interest in beauty and aesthetics, not just in wars and catastrophes. I still believe photography can touch people emotionaly. I believe a photograph can be a testimony and a document of its time, and that it can inspire us to talk to each other and make a better world."