Pensive – Women in Yuroz’s Art (Part 1 of 3)

“In art, every palette leads to the next, every completed work leads to a new one, where the connection, even just a hint, remains.” – Yuroz

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.


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), 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.

Ten years later, Yuroz emerged with Basking (2015), a second in his Woman in Red Series, a study to his third painting, Reclining Woman in Red (2015). Still in thought, however, the mood while reserved turns more relaxed. We see her face hinting a half-smile while she lies seductively in what seems like a private setting.

Is she in the room with her date in the middle of a visual foreplay, allowing her date to bask in her allure, with a deliberately extended torso while she twists her body imperceptibly like a cat on the prowl? Or is she alone after a promising date, savoring their amorous exchange, with her basking in her own dreamy state, looking forward to the next occasion for their tender togetherness?

Here again, Yuroz left room for us to fill in the blanks but dropped visual and mood cues to chaperon his audience to get in accord with him.

Simultaneously, Yuroz began a study of the same woman painting with oil on a museum board, this time with neutral and versatile undertones. Almost in the same pose, Ponder, A Woman with Her Diary (2015), presents a soft and elegant appeal.

Her core has not changed but she has mastered the art of her charm. Still holding her book, she cuffs most of it inside her palm, clearly signaling her willingness to put aside her reading and substitute with the day’s poetry.

Was she eavesdropping on two lovers’ serenade played without strings or watching their tender embrace with emotions so deep that they quietly aroused her senses? Or was she considering a stranger’s promise of momentary ecstasy as he tactfully interrupted her reading to blush her with his impish desire?

Ponder, A Woman with Her Diary again poses questions but suggests only a vague path to answers. Encouraging us to challenge a fait accompli by creating our own lyrics, Yuroz invites us to join him in his signature visual symphony.

Lost in Thoughts (2015), captures a private moment of his woman with a long neck line, this time, wearing her hair in a tight bun on the side; both signature elements of Yuroz’s elegant females and a subject tackled in Part 2 of this blog series. Posed in an attitude soft and natural in effect much like in Ponder, A Woman with Her Diary and expressively characteristic, the woman in Lost in Thoughts wears the same red dress with red and white stocking —the latter—a symbol of eroticism, portraying raw passion in all of us that unleashes only in oneness with our lover or in solitude in our dreamy state.

Clutching her romantic fiction in her hand, she ponders the passage she just read and swims in the raw emotions arose by the silent medley of lovers’ tunes that only she can hear. Missing her lover, she floats back in time, reminiscing on his last visit, when his insistence to give her pleasure overpowered her, forcing her to put her book down and go from the silent words on the page into words whispered in her ecstasy.

(c) Pandora Pang.  All Rights Reserved

Contact us to learn more about Yuroz’s latest works and Yuroz’s upcoming new book Women in Yuroz’s Art.

To read Part 2 of 3 for “Women in Yuroz’s Art”, go Here.

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