Kral St
Kral St’s artistic journey is one shaped by solitude, self-discovery, and an unwavering commitment to exploring creativity on his own terms. Growing up in a place where art books were nonexistent in bookstores and art itself was not widely appreciated, his introduction to the world of painting came not from a structured environment but rather from an unexpected curiosity. His first encounter with classical Western artists such as Michelangelo, Rembrandt, and Velázquez came through visits to the local public library. Though his English was still developing at the time, he found himself captivated by the images in the books, absorbing the visual language of the masters.
His first attempt at creating art came from a spontaneous decision to copy a classical painting but replace the face with his own. Using crayon sticks, he managed to replicate the look of oil paint, but the artwork eventually deteriorated due to cheap materials. This early experiment, rather than igniting a love for detailed realism, made him realize that hyper-detailed rendering did not inspire him. He never sought formal art education and never had a mentor, relying instead on books and his own instincts.
Kral’s understanding of art evolved over time. In his twenties, he explored modern art and experimented with oil painting, but eventually quit, feeling that his skills and understanding were not growing as he had hoped. However, in his late thirties, he noticed a shift—his sensitivity to visual composition and color deepened. It was then that he returned to painting with full-time focus. He attributes much of his growth not to external instruction but to internal development.
His creative journey has been marked by extensive experimentation. For ten years, he explored every modern art style he encountered, seeking to understand where his strengths lay. His goal was to find a way of working that felt natural and uninhibited. He believes that artistic growth requires finding the least resistance in the creative process, which eventually led him to develop his own distinct approach.
His influences are rooted in three masters: Van Gogh, from whom he learned the emotions of color; Picasso, who showed him the power of visual absurdity; and Matisse, whose sensitivity transcended the visual and entered the realm of pure artistic expression. These influences shaped his unique perspective on art and guided his approach to composition and form.
Kral’s work follows a method rather than a specific theme. He believes that by focusing on the method, recurring motifs or themes emerge subconsciously or by chance. This philosophy extends to his daily creative process, which begins with a strict ritual. Unlike many artists who rely on caffeine or nicotine for stimulation, he prepares himself by sitting in stillness for over an hour, allowing his mind to become empty before he begins painting. This practice, he says, eliminates creative blocks and ensures that inspiration never runs dry.
His work does not rely on external surroundings for inspiration. While he occasionally draws titles for his paintings from his environment, the creative process itself is deeply internal, often stemming from the subconscious or pure spontaneity. His art is not about representing reality but rather about reflecting the consciousness of the viewer. He wants people to see life, feel life, and be energized by life when they look at his work. Though they may be observing color and form on the surface, they are ultimately engaging with their own awareness.
One of his most fulfilling moments as an artist came when he looked at his own painting and realized that he didn’t need to be a billionaire to enjoy timeless art in the comfort of his home. For him, success is not measured in fame or fortune but in the recognition that his work should be preserved and displayed for future generations. If his art captures the essence of life and resonates across cultures, then it has achieved its purpose.
In a world dominated by external pressures and fleeting trends, Kral remains firmly rooted in his creative vision. He believes that artists who have not yet found their strength may feel swayed by external influences, but once an artist truly understands their own capabilities, outside pressures lose their power. As for trends, he differentiates between those that are mere commercial fads and those that signal meaningful shifts in the art world. He is open to adapting to relevant movements but refuses to be a blind follower.
Kral’s personal life plays a significant role in his work, not in the sense of cultural heritage but in his chosen solitude. He sees himself not as a product of a particular tradition but as someone who actively decides which influences to embrace. His advice to aspiring artists is to be patient—true artistic growth takes time, and no amount of external discouragement should deter someone who is committed to their craft.
Looking ahead, Kral is open to collaboration, particularly with artists in fields such as installation art, music, and poetry. However, he emphasizes that such collaborations should be supported by sponsorship, as his self-directed artistic journey has been a decade-long endeavor. If given the opportunity to work in a new environment—especially one surrounded by nature—he believes his work would reach new heights.
One of the pivotal moments in his artistic evolution came when he ran out of canvases and decided to paint on the back of a used one. Applying black gesso before painting, he discovered that this surface provided the natural texture he had been searching for. Since then, he has continued using the reverse side of the canvas, even when working with new materials. This discovery significantly improved his technique and quality.
Currently, Kral is expanding the scale of his work, creating larger compositions suitable for public exhibition. His goal is to present his paintings in the United States, transforming gallery walls into “giant mirrors for consciousness” where viewers feel as though they have stepped into a visual playground of energy and sensation. He envisions his work evoking the same excitement as a child in a candy store, and he hopes that this is just the beginning of his artistic presence on the world stage.
