"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 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 very difficult. There are works that undoubtedly suggest its depth and meaning, but there is, at least sometimes, the possibility of a mistake."

“I always like to look where it is rarely looked. I do not like taboo topics and easy rejections. I like to find out, check, conclude on my own ... to get to know "foreign" cultures and different civilizations, a global view. For this reason, nothing is foreign to me. I do not consider myself associated with a single cultural tradition. Every human tradition is also mine. I am trying to determine myself as a citizen of the world, because so I see the future, and not in the separations based on race, nation, or religion. A contemporary artist must necessarily be a free thinker, and for a free thinker there is no dogma or taboo theme.”

“Conversation with Alfred Freddy Krupa by Miroslav Pelikan, Metro-portal, Zagreb, 2018”

“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”.”

“Conversation with Alfred Freddy Krupa by Marin Bakić, Aktiviraj Karlovac, Karlovac, 2015”

“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 line and its movement through an illusory “non-dimensional” space, i.e., a one-dimensional plane as a fundamental building/ the constructive element of the painting/drawing corresponds to the scientific study of the idea of a one-dimensional string as the fundamental material of all matter and energy in the universe. I realized that pulling the line of the ink 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 , has a multidimensional and a mathematical basis , but basically represents a mathematical fraction, a fragment, a vector 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.”

“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 approaches and techniques such as this basic calligraphy and ink painting 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 according to the nature and structure of this reality apparently spontaneously , 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.”