Oleg was born in a small ancient Ukrainian town. Some critics world have added "provincial", which wouldn't be too far away from the truth. Pinchuk is from province. But he isn't in the least ashamed of it. Lomonosov, as we all know, didn't have a Moscow City dweller registration either. We all ore from childhood by origin, and Pinchuk's particular childhood originates from Drogobych. Its wooden churches, sluggish provincial tenor of life with its petty bourgeois elephants on the chest of drawers remain on invisible inner beacon far the sculptor. Behind the futuristic forms of his sculptures we can't help seeing his attachment to tradition as well as peculiarities of his upbringing. On the one hand - ethereal transparence, airiness, on the other - earthly, tactile recognisibility.
In his genesis Oleg went "from the inverse". He began to transform the objective and, alas, not always impartial reality being already loaded with sound academic background. Having Kyiv Artistic Academy professor Vronsky's studio studies as his first alma-mater, he also graduated from High School of Visual arts in Geneva - artistic Oxford in a way. Being a student of an outstanding European Master of Arts Michel Girshi he made a convincing discovery: Art not a thing locked in itself. Developing upwards on the evolutionary spiral, operating with scientific categories and following universal economic laws, it is at the same time an ultimate absolute product, opening all the world history, its spiritual and, what is no less important, material experience for an artist.
It is by no chance that out of all the artistic forms he chose sculpture. Being comparatively less expressive, it gives by far more 'concrete' way of solution of artistic tasks. Sculpture, like o sculptor himself, being of some physical weight and volume, is more real in space and time. And consequently has more chance of 'getting through' to the viewer's conscious and subconscious.
The choice of the material, - bronze - isn't accidental either. The natural properties of bronze are known to work for the creation of a tangible image. However, Pinchuk's first sculpture masterpiece was o wooden eagle, traditionally manufactured in the Lviv region. Honestly speaking, his eagle looked more like a crow. This double likeness later became a distinctive feature of his characters. Bulls with fish fins, fishes with human faces.,, they have very much in common with a sculpfura folk toy, characterized by humanization of animals. Like, for example, animals-oberigs (amulets) of Maria Primachenko; whose creative work Oleg estimates so highly. Further more, still closer and nearer to the childhood of humanity - to the imaginativeness of the antique world, where the distance from an animal to a man, from the man to God, from God to legend, and from the legend to reality is but a small step from here.
Thus Pinchuk-the paradoxalist restores one of the most amazing paradoxes of art - the perception of a masterpiece, when the effect of emotional empathy, being a cornerstone of art in general, is possible without either the historic context or the literary "plot".
One of distinctive features of Pinchuk's brand name is a frequently used pendant element, creating a feeling of live vibration. Catching his characters unawares in the phase of keeping the balance, along the sides the author places dialectal oppositions, perpetually aspiring to the unity. The very soul, "after Jung", is located in the point of their intersection.