“In art, every palette leads to the next, every completed work leads to a new one, where the connection, even just a hint, remains.”
An avid admirer of the power of women, Yuroz varies his composition, color, lines and shapes to express with prowess the multitude facets of different women he has observed over the years. Arresting their moments of solitude, Yuroz fortuitously offers glimpses of the kaleidoscope to their mind’s eye. Following is part one of a three-part blog series, an excerpt from Yuroz’s upcoming new book Women in Yuroz’s Art and select paintings from his recent release.
Part 1 of 3: Pensive
Could it be that Yuroz has a habit of putting his hand underneath his chin when he contemplates the next mental image to bring into reality to share with the world or when he is in deep thought to build the composition of his next painting? Yuroz’s mastery of illustrating delicate emotions starts with his intuit, his power of observation and his dexterity in capturing the emotions of his subjects, including when his heroines are in their natural state of ponder.
While many women in Yuroz’s art share a similar pensive state, these select four paintings show the women wearing a similar gesture with their chins on their palms but reveal very distinct moods and internal dialog. Always engaging but never dictating, Yuroz romances his viewers beyond the four corners of his canvases and drawing boards as he opens our eyes to appreciate the beauty and charm of each of his woman subject through his art, peels our ears to hear their heart songs, softens our hearts to oblige to their sensibilities and sensualities and teases our minds to share their hopes and dreams.
Her Presence 2005
Woman in Red Series
Oil on Canvas
121.9 x 91.4 cm
48 x 36 in
Her Presence (2005), the first painting in the Woman in Red Series, gives clues to a fragment in life Yuroz captured. His woman’s shapely red dress accentuated by her curvaceous hip, along with the sharp tip at the end of her contouring black hairline squarely dominate her presence in the painting. Did she arrive early for her date to make the best first impression, positioning herself for an elusive allure, or is the date late and she is rehearsing a difficult conversation in her head? Her face says it all, but does it really?
Defenseless to her whimsical seduction, one unwittingly seeks clues to uncover the source of her poker face, the root of her casual indifference and the subject of her stare. Her posture is deliberate and her poise evocative. As we admire the beautifully balanced construct of the angular lines of her body and the suggestiveness of her curves, the sensuality of Yuroz’s Woman in Red is starkly underscored.