I always like to look where it is rarely looked. I do not like taboo topics and easy rejections. I like to find out, check, conclude on my own ... to… - Alfred Freddy Krupa

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.

I love the freedom of creation, which (I hope) is visible in my works, and only one who has enough knowledge can afford freedom. You can not deal with high mathematics if you have not mastered the basics, adding up and subtracting, so it's about something similar with painting.

One of my primary goals in my own artistic expression is to avoid the abyss of being “cute”, “tasty”, “nice” and any other deeply rooted formalism (particularly in stereotypical motives/composition and superficial “spirituality”). On other hand, I am trying to reach direct, spontaneous, raw expression, with a heavy emphasis on personal and authentic artistic handwriting. Some people are focused on, or even obsessed with the “beauty” of line and its graciosity. And that is a legitimate intention and a necessary one in calligraphic writing, but it is not my path. At the end of the day, I will produce my own shape, my own drawing texture and my own morphology of a line. I do not care if it is “ugly”, almost always a subjective description, or “imperfect”, or not in keeping with a traditional view and a consideration of “craftmanship”. It must be a genuine and direct materialization and footprint of my mind’s flow and structure along with my feeling. And when such an “event” occurs, by default, it inherently contains clarity and artistic honesty. With this approach, I believe that I will create original art, original at its very root, my own artistic grammar.