After my grandfather's death in 1989 (painter and inventor Alfred Krupa / 1915-1989), I went to Sarajevo, in the Reserve Officers' School. I painted … - Alfred Freddy Krupa

I also explore the amalgamation of Eastern and Western painting styles and methods, which falls within borders of the contemporary art phenomena named “New Ink Art Movement.” This is the core element, but I do not limit myself. I also love the feeling of creation in various other artists’ philosophies and concepts (from new realism and neo-surrealism to art informal, etc.) And I don’t restrict or delude myself with any political agenda or religious doctrine. If there is a creative urge, I can paint or draw a formal portrait or an erotic nude with the same vigor. I honor freedom of expression based on knowledge, essence, and genuine expression. This attitude is reflected in my works.

They say that the first form of grated technique was invented by Max Ernst and is considered originally as the surrealistic technique. This is not just an "inverted" variant of ink drawing (positive-negative) but a technique that speaks with a completely different visual language. Maybe I could say that this is in my personal opinion (!) above all a supple expressionistic technique, where the expression is extremely fine put/render through strong contrast and energetically (more or less) scratch of the scalpel on the ink-coated surface of paper or cardboard.

The more I have read about the theory of strings, the more I have understood that my artistic exploration and occupation of a one-dimensional (or “non-existent”) line and its movement through an illusory “non-dimensional” space, i.e., a one-dimensional plane (in a “short section of time”) as a fundamental building/ the constructive element of the painting/drawing corresponds to the scientific study of the idea of a one-dimensional string (strings) as the fundamental material of all matter and energy in the universe. I realized that pulling the line of the ink (or something else) to show the bare essence, i.e., the reduction of the expressive means only to the choice of direction, length and thickness of the line (Minimalism, Reductivism, Hakubyou), has a multidimensional (from 3 + 1) and a mathematical basis (something that the brain makes in the semi/multi-dimensional level, and the artist perceives as “a sense/feeling” and “a spontaneity”(Informalism/Art Enformel?), but basically represents a mathematical fraction, a fragment, a vector (as we have in music, for example) and where the mind of the artist just recognizes and monitors already existent “gravitational” forces, directions, building blocks on the “blank” surface of the board, canvas, paper, where the mind of an artist follows through the insight into another “alternative” dimension the most common/most meaningful inner, i.e., hidden, forms which we see not in “material” nature. They are perceived by the eye of the observer through the drawing process described here.