Similar to event processing, such as travelogue notes, a reservoir of chronicles, records, maps and legends on the extermination of the Aztec civilization and the Spanish conquest of Mexico, the doctrine becomes the driving force for instinctive and intuitive construction of a general Western mythologizing of the Third World. Regarding these persistently imposed directions, Goran Juresa is not a follower of a counter-Enlightenment shift into a self-inspired romanticism of sympathy with the oppressed, rather an indirect observer of the art world of today and austere rules in the current cultural and economic exploitations and political dominations. Ironically devoted to shedding light on his input into the field of painting, he gives into the transfer of the ritual of spilled blood from sacrifice to the narrative of the many years of Cortés’s confrontations, trade, fraud and conflict with the people of the Feathered Serpent.
The unknown and missing Heart of Darkness, as in the eponymous African adventure novel by Joseph Conrad, as well as all types of referential post-colonial imprints, were transposed into dramatic gestures and stunned, dripping traces, as well as explosive densities. As a rule, the works created by pencils and the rubbing of a mass of wax pastels, layering of intimate contact and concentration on the imprinted, scribbled structure, had been derived from an already cultivated reflex of a decade-long research into the structure of a scene, the effects of confrontation of the first, second or third color, all up to the impact of a distinctive remote figurative palimpsest.
(Nikola Suica in "The Pictorial offering aka Das bildliche Opfer", 2014) )