Timchenko often employs invention in this process of transformation: Infantas make friends with “dolls”, princes with leopards, Ali Baba with a crane, a toy horse with a childish and naïve expression gallops from one picture to another. Perhaps his most noted work, "Ophelia" (1996) was born from the idea of creating a projection in waters. The themes surrounding Ophelia have a close link to all of Timchenko's work. For him she embodies the paradox of "beauty" and "transitoriness". Timchenko: "I paint neither trees nor leaves. I paint the wind touching the leaves" — in this case the water touching Ophelia. Timchenko realized a more literal version of this idea in 1998 in Prague, where he installed a projector at the Charles Bridge and a canvas of 8 x 3 metres beneath the surface of the Vltava river. After a subsequent exhibition in Bratislava, he installed a projector over an aquarium of the original size of the painting 1999 in Paris. Oleg Timchenko is a “reactionary” artist and his reaction is compassion. He loves the world, is interested in and suffers from the “pain” of the latter. His personal feelings are transformed into eternal topics. He touches on the themes involving a drama, strong emotions: love, death, beauty, psycho-somatic difference, risk, fear, pain. He is a bit grotesque, expressive, expressly childish, but not naïve. He rather has a nostalgic approach of an adult toward childhood, having a desire to play and a priority to detect beauty in every happening. Expression was there from the very start – as early as in the "tenth floor" period. However, in the beginning the dramatic tension was not so permeated with beauty. This occurred later, i.e. one vision was enriched with another. The ascetic expressionism of the 1980s was gradually replaced by fireworkish expression determined by intensity of color and stroke. The effect of "firework," i.e. processing of the surface of the picture with paint, creates the effect of 'explosion," "pulsation" of a color and gives the picture vibrating visual impression creating illusion of a celebration and fairy tale. The firework-like style, sometimes with a touch of "kitsch," and minimalism of the style – the artist follows these two trends from the very beginning, but with time the margin between them becomes more obvious. The topic of the picture itself dictates to the painter the style which is sometimes realistic and surface patterned, and sometimes