They are shaman-artists who constantly strive to look into the blueprint of creation beyond the visual crowd and the noise of superficial details, th… - 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).

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.

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.