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

However, terms such as “hidden space dimensions,” “weird curved spaces,” “duality,” “mirror symmetry,” and others found in the physical theory of strings are exactly the terms that we have to apply if we want to accurately describe some of the arts (by certain art theorists “traditional and non-contemporary”) approaches and techniques such as this basic calligraphy and ink painting (Sumi-E) in particular. How to interpret it? Where does this timeless contemporaneous state come from? It is possible to correctly interpret it if we recognize and acknowledge the next creative mechanism: the authentic “artistic mind,” that is, when it functions in synchrony with the assumed multidimensional “reality,” behaves (“vibrates”) according to the nature and structure of this reality (here it would be the assumed “string,” which is then its own structure/architecture) apparently spontaneously (like surrealistic automatic drawing and painting?), pulling those lines that, as enlarged one-dimensional strings, describe “gravitational forces and the most logical paths through seemingly empty and non-existent space” on the paper surface in an attempt to present the motif essence.

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.

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.