An Interview with Sinziana Iordache, the Artist Who Designed the Micro-Architecture of the Watch.
Berk OztoprakAuthor
Toronto-based hyperrealistic artist Sinziana Iordache isn't just someone who sketches watches; she has an eye that virtually reconstructs them. With the knowledge of measurement, perspective, and materials gained from her studies in architecture and interior design, she takes the most "modest" form of graphite and applies it to the most refined surfaces of ultra-luxury watchmaking. Meticulously layering every detail, from steel to sapphire, from polished surfaces to microscopic textures, Iordache's work magnifies and reveals the micro-architecture of a watch. In this interview, we discuss the world she has built within the triangle of art, architecture, and horology, her processes, and the motivations that drive her forward.
1. For Bersenti readers who will be discovering you for the first time: Who is Sinziana Iordache? How did your relationship with art, architecture, and watches begin, and how did it evolve to where you are today?
I'm a Toronto-based hyperrealistic artist, best known for drawing clocks entirely out of graffiti. Art has always been a part of my life. I drew constantly as a child, but I took a more structured approach early on, studying architecture and interior design. This education shaped how I perceive the world. Naturally, I focus not only on how things look, but also on how they are built; on structure, proportions, and construction.
Watches entered my life much later, almost by chance. I'd always been fascinated by mechanical things. My first passion was cars; watches were always an area of interest lurking on the horizon. What started as curiosity quickly turned into an obsession. I realized that a watch is essentially "wearable architecture": an incredibly small, fully engineered structure that can be both functional and emotional at the same time.
Over the years, my work has evolved from experiments in realism to a complete embrace of clocks as the central theme. Today, my practice stands at the intersection of art, architecture, and horology, and this is where I feel most at home.
2. You have a background in architecture and interior design. How does this education influence your drawings? How does this foundation give you an advantage in terms of proportion, perspective, light and shadow, and material sensibility?
Architecture has trained my eye to be extremely sensitive to proportion and alignment. I notice immediately if something is even slightly wrong. With watches, everything visually matters; this sensitivity is especially critical.
My understanding of how light wraps around form, how reflections refract on surfaces, and how materials interact with each other comes directly from my design background. Interior architecture, in particular, has added an extra layer, especially on the "material" side. Steel, gold, sapphire, ceramic; brushed and polished surfaces each behave differently. I treat them like architectural materials: before I start painting, I examine how they absorb or reflect light.
I've always believed that a background in architecture and design is a huge advantage; I often recommend that aspiring artists, regardless of the subject matter, study perspective drawing. This reduces guesswork and creates a much deeper understanding of how forms translate on paper.
3. Was there a turning point in your relationship with watches? Which watch was the first one that made you think, "This isn't just an object; it's a micro-architecture worth spending hours on"?
The Jaeger-LeCoultre Reverso Hybris Mechanica Calibre 185 was definitely a turning point for me. At the time of its release, there wasn't much visual information available; this sent me down a research rabbit hole. I kept examining every face, every complication.
The level of detail and the way the complications were layered so seamlessly with different textures completely changed my perspective on watches. I spent about 180 hours drawing it, and the process was like a journey to understand the materials, the finish, and the texture. That piece sparked my desire to explore more.
4. Your choice of graphite is very distinctive. How do you manage to create luxurious, complex, and often highly reflective metal surfaces using only graphite? How does it feel to combine ultra-luxury watches with a “modest” material?
I have great respect for this humble material. Graphite is deceptively simple. People often think of it as something "basic," but it's incredibly versatile if you know how to push its limits. The point is to understand what the material is capable of, and to push its boundaries a little further each time, learning something new in the process.
The material itself is merely a tool. To depict different surfaces and materials convincingly is essentially about understanding values (tones), light, and shadow. Knowing where highlights and shadows should be, how much contrast is needed to make a surface believable, comes with time and experience. Every drawing teaches me something new; and I try to carry that knowledge over to the next work.
However, I love the contrast between the material and the subject. It's incredibly satisfying to depict objects that represent the highest level of craftsmanship and luxury with a pen, arguably the most accessible art tool. This makes the work "down-to-earth" and honest. In a way, it also mirrors watchmaking: producing incredibly refined results with extremely basic tools.
5. Can you describe your drawing process step by step? From reference selection, composition, initial sketch, details, and the final touches… How long does an average project take, and what is the most challenging part of the process for you?
It all starts with researching the subject. If I have access to the clock, I prefer to take my own photos and create my own reference. If not, I refer to the images provided by the client, as well as photos and videos on the internet, and I research until I fully understand the geometry.
My approach varies depending on whether it's a personal piece or a commission. A commission is a collaboration between me and the collector; therefore, we begin with lengthy discussions about the watch: what it means to them, what details are important, what do we want to emphasize… This dialogue determines the research, the selection of references, and the overall direction of the work.
The initial sketch is very loose and light; it focuses entirely on layout and proportions. The real work begins at the shading stage. I build everything layer by layer; therefore, nothing looks completely “finished” until the very last stroke of the pencil.
Every drawing inevitably has a daunting section, and I love that. It might be a texture I haven't drawn before, a new material, or a particularly complex geometry. I usually sketch the work in my head a few times before I start. This is my way of planning the approach and figuring out how to handle the challenge.
The time spent on a drawing varies greatly depending on its size and complexity. Large-scale projects are always over 100 hours long; smaller projects generally take between 25 and 75 hours.
6. In your work, we frequently see the most prestigious watchmaking brands and the most complex mechanisms. What are your criteria when designing a model? Are you more drawn to the technical complexity, the design language, or the story of the watch?
Technical complexity is certainly a significant factor; so is design language. However, my work spans a wide range, from top brands to emerging micro-brands.
Today, most of the drawings people see are commissioned, so the collector chooses the watch. In these cases, their story, passion, and connection with the watch are entirely decisive. I simply translate that connection onto paper. When choosing subjects for my personal works, a mixture of all these factors usually influences my approach, but a strong design language is especially important to me.
7. Do you have a desire to create your own “personal clock universe”? Have you ever created completely imaginary clocks that don’t exist in real life, just for the sake of drawing? And have you ever considered turning these designs into limited-edition real clocks?
When you look at watches for that long, your imagination naturally starts to wander. You notice proportions you'd like to change, details you'd like to emphasize differently, finishes you'd like to explore more deeply. There were definitely moments when I jotted down some ideas out of curiosity or designed some elements in my mind.
However, at the heart of my practice has always been a respect for the parts that already exist and the craftsmanship behind them. I am very interested in drawing attention to the often overlooked details within what already exists. We miss an incredible amount of information if we don't examine a watch under a magnifying glass: the hand-crafted bevels, the subtle transitions between surfaces, the microscopic textures that take hours to create…
What fascinates me is this level of craftsmanship. By enlarging and recreating these details on a much larger scale, I want people to slow down and truly see that effort. In a way, my drawings are already creating a new “personal clock world”; not by inventing new clocks, but by reframing and enlarging what already exists.
Regarding turning imaginary designs into real watches: I don't completely rule it out, but it needs to feel very intentional and authentic. I don't want to produce something just "for the sake of it." If it ever happens, it will stem from a need to explore an idea that couldn't exist otherwise. For now, my focus is on observation, interpretation, and respect for the craft that inspires me.
8. How do you feel about the idea of designing a new watch brand from scratch? Let's say an independent brand approached you and said, "Create the visual identity and dial language of the entire collection." Where would you start, and what three words would absolutely have to be in this hypothetical brand's design manifesto?
I'm never closed to collaborating with a brand on visual identity, but the beginning must be research and moderation (a restrained approach). It's crucial to understand what the brand represents, what it doesn't want to be, and where it fits into the broader world of watches.
I don't see this as purely hypothetical; those initial meetings are critical. Understanding the target audience, the level of detail, and the values behind the brand should, in my view, always come before creating the visual concept.
9. You work on many special projects with brands and collectors. Can you share a commission or a story that deeply affected you – one of those moments where you said, “This is exactly why I’m doing this”? (You can keep the names anonymous if you wish.)
Some of the most meaningful work I do comes from commissions, whether with brands or private collectors. I've worked on pieces that mark big moments in life: anniversaries, milestones, or watches passed down through generations… Each time, I'm reminded of how lucky and privileged I am to be able to do the work I do and be involved in something meaningful for someone else.
While I share most of my finished works publicly, I generally try to keep the stories behind them private out of respect for my collectors.
A recent order I placed, an A. Lange & Söhne Datograph, was particularly meaningful. The collector had a deep respect for craftsmanship, both in watchmaking and art, and we immediately connected through that. He truly understood why the work took so much time, why certain details mattered, and why the process couldn't be rushed.
In a world built on instant gratification and constant speed, this mindset is becoming increasingly rare. Moments like these remind me why I do this. For me, watches are still one of the rare areas that fully embrace craftsmanship and the idea that “time, care, and patience” are not compromises but fundamental values.
10. What are your future plans? More brand collaborations, mixed media experiments, exhibitions… perhaps even the actual production of a “Sinziana design” watch? We would love to hear about the projects you envision for the coming years.
Ideally, all of that. I want to continue collaborating with brands and collectors in ways that feel thoughtful and meaningful. I'm also interested in pushing my practice further, playing with scale, experimenting with mixed media, and perhaps creating installations or exhibitions that allow people to experience the work in new ways.
I'm constantly studying and refining my craft, but it still feels like a beginning. There are many plans already in motion; the challenge is time management and ensuring that ideas are carefully brought to life.
Regarding the idea of a "Sinziana" designed watch, that's not really on my agenda. I have no intention of starting my own watch brand. What appeals to me more is collaborating with brands or individuals in ways that feel organic. Whatever happens next, I want it to feel like a natural evolution of my work, not a break from it.
We thank him for this interview.
This is not sponsored content. It is news content.
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