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Looking at, ie analyzing the so-called the visual elements of an image, we see the surface, the outer look of an artwork. All practical art education… - Alfred Freddy Krupa
" "Looking at, ie analyzing the so-called the visual elements of an image, we see the surface, the outer look of an artwork. All practical art education (the use of artistic elements, ie art grammar) is mainly focused on this surface analysis. Sometimes, through these elements, it tries to penetrate deep into the essence of the image, into what it initiated and created a work, into an experience (this is the primary task of theory, sociology, and art history). This is very difficult. There are works that undoubtedly suggest its depth and meaning, but there is, at least sometimes, the possibility of a mistake.
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About Alfred Freddy Krupa
Alfred Freddy Krupa (Krūppa) (14 June 1971, Karlovac, Yugoslavia) is a Croatian contemporary painter. He is one the best known European members of the global Modern Ink painting movement. Since 1990 Krupa is known for both exhibiting his European New Ink Art works together with writing an articles and essays from the field of an art theory (predominantly related to New Ink Art movement) published nationally and internationally.
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Alternative Names:
Alfred Kruppa
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Alfred Krupa
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Additional quotes by 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.
As I grow older, my art also becomes more mature. Everything changes in relation to the simplification and synergy of complex forms. That cannot be achieved without the processing of the existence and artistic experience. The inner life comes to the surface stronger than in youth. I seek a higher expression and that is at the end of the process of multidimensional reduction to “essential forms”: some sort of “neo or re-minimalism”.
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They are shaman-artists who constantly strive to look into the blueprint of creation beyond the visual crowd and the noise of superficial details, the one on task to explore and communicate with a primary game of opposite values during composition and construction of a coherent imagery. They paint from both levels, the personal and the intimate and the universal one which emerges from life-giving tension. Every Ink image, every Sumi-e painting, is a unique crossroad of oppositions, of directions, of intentions. They are all constant reminders of the duality of creation and the accuracy of the equation where two equals one.
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