Painting and the principles of construction are becoming new dimensions of history according to scattered references, and possible chocolate findings. Pods – symbolic “eggshells” of knowledge are the starting point of the impact and the feeling of satiety, beyond sweetness, and beyond the circumstances of phenomenal directions. Behind the harvested cocoa beans and cooking of chocolate, beyond conquered property and looted treasures, is a loose vital path of energy relations. Genealogies of Catholic domination, Spanish, French and Austrian royal families in front of the conquered terrain of Central American and South American continents,have becomeearlier versions of similarly appointed political modalities of our time. The opposite perspective, this prominence of visual plans, is a dimmed celebration of explosive events of artistic energy in the creationof a backdrop from before, adjusted for the moments of our observation.

In order to better illustrate this multiphase process , a commentary of a few of his works is indispensable. (Auto) - destruction of the coloured field in Jureša’s paintings has been taking place for years, owing, in large part, as previously mentioned, to their defunctionalized form. The author found this form by reducing forms to the threshold of recognizability (‘Maria Theresa Surrounded by Midgets Drinking Hot Chocolate’, 2010) to a point when we can barely make out the famous Velásquez’s portrait with conspicuous baroque hairstyle transposed into a hat. In that way, the visual data, like the black hat with a red feather, gives the painting its complete meaning and removes any doubt on the part of the spectator about the sort of visual spectacle he is facing. Upon closer observation, the remaining elements of the narrative (mentioned in the title) can also be recognized as a formal depiction sufficient for obtaining the confirmation of the authenticity. In other words, through the destruction of the visual status of the historical composition, and by including content that interests him, Juresa constructs a composition with all of its necessary meanings which seem, at first, ‘unfinished’, but nevertheless constitute a complete work of art.

Color sections and passages, serial incidents of intimate visions of activities, realistic plans and fantasy, they string along, ending with entertaining relationships. The series of paintings entitled 'Wolfgang', created in the first half of the decade, mostly from 2003 to 2008, introduced the experience of the offensive and the particularly unusual. Mozart’s correspondence with his father Leopold, or descriptions that this unique prodigy had with his wife Constanza, were transferred from fragmented epistolary chronicles, along with jovial sighs, linguistic scatological fantasies of creation, as well as verbally disrespectful descriptions of excrement. This is also the starting point for all that would later follow with the sensory impact of the effectively sweet Austrian confectionary recipe for Mozartkugeln chocolate nougat balls with pistachio and marzipan, which grew into a global brand of attractive consumer desires. The same is true for the sentence in the title of the painting 'Erzlümmel' and equally for the works that unite the Wolfgang series, with ripped, fragmented and quirkily entertaining excesses from Mozart’s correspondence and titles of paintings, such as 'Groster Schroll get das moll', 'Without hardness' or 'Why don’t I have three heads'.