The cycle of paintings entitled "Wolfgang" (2003-2008) could be read as a particular homage to the composer W. A. Mozart. As a historical figure Mozart was entirely in line with Juresa's own reasoning of creativity and creative energy at that moment - the viewers of Juresa work inevitably perceived it as the visual compositions which had something of the child's comprehension of reality. Rather than to write his first opera as an adult, full-grown person, it was successfully written by a child of six years. This was enough of a reason for Juresa to wonder how this enormous talent could exists in one's head. The series of work that was created at first, resembled the X-ray scan of the genius brain. For this series of work canvas was used as a penetralia of Mozart's head. The content of composer's famous letters were either implemented into the work, or were used as a starting point for visual conceptions.
'Culturologically speaking, within the context of European Enlightenment, dealing with the historical, even artistic and transcendental phenomena of a prodigy, as well as an absolutely supreme traveler into the internal dimensions of musical harmony of classicism, the painter choses his first childhood name as title.
It must be this entertainingly obscene narrative from the letters, processed as bizarre legacy of the astonishing formative proceedings of the composer, himself, which paved the way towards a sweet and minuet-like seductive implementation of a lamenting and unflinchingdeep parallelof experiencing the world.
Works focused on portrait, gesture and the spoken word possibly invoke their own circularity and reveal a self-conscious quest for multilayered meanings of artistic freedom, liberation from constraints and childish offenses. Mozart’s writings are also scandalized evidence of the psychological effect of a youthful character and focus on details which, in an analytical experiment, can be found in the musical alphabet of individual citations, personal paraphrases and closed plays, in theworld of the very essence of musical form. The Wolfgang series brings, along with chromatic gestures, sharp sections of color, and individual sentences which,through the destruction of the expectation offaces and bodies, express a dilapidated dissolution of any personality and where the nature of human virtues and volcanic passions is visually dynamized.'
(Nikola Suica in "The Pictorial offering aka Das bildliche Opfer"