Oscillia can be regarded as the birth of rhythm. Before it acquired color and volume, it existed as a precise, measured, and almost weightless line. The drawing becomes the first fixation of the idea, where time lives and moves not linearly, but along a circular trajectory.

The sketch captures pure form as the conceptual center. Konstantin Chaykin masterfully transforms oscillations (from Latin oscillatio — swinging) and gives them painterly form. Within this graphic space, a central image already emerges: a female figure fused with the mechanism, not opposed to it, but organically integrated into its structure.

In‘Oscillia,’ form merges with rhythm. Everything here resembles a formula: to see the living within the mechanical, and the mechanical within the living.