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" "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.
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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Sepia is a watery drawing technique and we can put it conditionally among the inks.This is a specific brownish color (obtained from the ink of sea mollusk the cuttlefish) which is sometimes "golden" and diluted with water on certain types of paper can give "green" tones. On one occasion when I painted on the sea, under the blast of a wind a map full of sepia drawings, flew into the sea With the help of a colleague we managed to get them out of the sea and dry them. But what happened? The structure of the drawings and the essential mass remained intact, and there were reddish, blue, yellow, green tones in the form of capillaries and tiny discolored stains, where there were clumps of dense sepia (sepie).This gave the drawings a special "atmosphere".
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”.
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.