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).

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "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)." in the context of "Grated Ink, Alfred Freddy Krupa , from the original lecture material, 2017 (published in Texts 1994-2017 , Blurb, 2018)" to mean that wisdom is timeless.