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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 i… - Alfred Freddy Krupa
" "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).
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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
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.
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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