“Inqubitan” In Chinese philosophy, Yin and Yang have never been symbols of the struggle between good and evil. They represent two complementary principles that continuously transform into one another. Day already contains night, and night holds within itself the beginnings of day. “Inqubitan” does not address Yin and Yang themselves, but rather the line where they meet. It is precisely this curve that becomes the painting’s central figure. In the Daoist tradition, such a boundary is a place of continuous transformation, where no state exists independently. Sobinarism takes the next step and places Kubit at this point. If Yin and Yang reveal the unity of opposites, then Kubit reveals the moment of realizing this unity. It becomes a space of choice between Zero and One, which exist not in opposition to one another, but thanks to one another. Therefore, “Inqubitan” is not a depiction of equilibrium. It is an exploration of the place where equilibrium is born. That barely perceptible line which the East called the Tao, and Sobinarism calls the space of the Kubit. “Inkubitan” is a view of the interplay of Yin and Yang as the source of choice, where opposites reveal their common origin and become a unified movement of being.