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 a… - Alfred Freddy Krupa

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.

Although I have never seen another artist (in my environment) to be more serious in a grated ink (surely there are some), I really did feel good in it. I went out several times at night (for the authenticity of experience) with glass-free glasses and built-in flashlights, seated in the park, by the river, or going to the old town of Dubovac and adding something of a greater variety to my drawing opus. I was concerned with the release of light and the "emergence" of the form from the full black and the emptiness of blank paper. Unlike drawings and images where I always have the feeling of creating a form, in this technique I have a sense of liberating the form (which is present but hidden).

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.