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 (p… - Alfred Freddy Krupa

I think success is when you are confronted with utter defeat of your world, your intimacy, your ideas, your public picture, your heritage, your previous achievements. When in one moment it looks like there is one, and nothing that helps you. When almost every look is also a look of doubt, when you yourself put everything under the question mark. When all the illusions about yourself fall, illusions about your surroundings, about people, about faith and religion, about flags, about objects of love and how much are you in love…and then, in that moment of personal and private holocaust, of that ocean of pain looking like all inner strength faded away, and there is no right for excuses about your existence. When at that moment you rise and keep moving forward, you start and you lead a creative and productive life. Yes, I think that is objective strength and power.

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.

After my grandfather's death in 1989 (painter and inventor Alfred Krupa / 1915-1989), I went to Sarajevo, in the Reserve Officers' School. I painted it for a year only at night with a lamp in order to enroll in the Academy of Fine Arts in Zagreb in 1991. But, as there was wartime and complex circumstances, the enrollment to the Academy was also quite dramatic.-My head was sentenced to death in absentia as I was the second junior JNA officer in Slovenia who crossed over to the side of the defenders of Slovenia, at the beginning of the war aggression against Slovenia. I came home I spent a few months in Karlovac, so I could not go to the summer exam in the summer, but only in the autumn when it was organized for me and two other colleagues. I was admitted to the academy, a war started and I, as a volunteer, joined the defense of the homeland. I was the only participant of the Homeland War at the 1st year of the painting study at the Academy of Fine Arts in Zagreb.