Gallery
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3 artworks
Universum "The Figure of the Author"
The ‘Figure of the Author’ Universum brings together Konstantin Chaykin’s self-portrait statements, in which the artist turns to his own image through the metaphor of the creative process. Constructing a model of his consciousness, Chaykin transforms the workbench into an altar and gears into tools of thought. Unlike a classical self-portrait, he abandons physical likeness in favour of metaphor: his face may be hidden, replaced by a mechanical mask, or dissolved into the architecture of the workshop. The artist thus places himself inside his own Universum, becoming both its author and a subject of its construction.
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18 artworks
Universum "Horological Archetypes"
The ‘Horological Archetypes’ Universum presents a system of images in which watch movement components become figures endowed with character, history and symbolism. Each archetype exists simultaneously as a mechanical assembly and a mythological figure, combining function and meaning, precision and narrative. In Chaykin’s Universum, these archetypes embody different states of time — anticipation, attachment, obsession, sleep and dance. They form not simply a gallery of characters, but a system of coordinates where time acquires a face and mechanics takes on a character.
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14 artworks
Universum ‘Horological Graphic Art’
The ‘Horological Graphic Art’ Universum brings together Konstantin Chaykin’s blueprints, embodying his core artistic method: the graphic artwork as the Primary Form of Thought. Executed predominantly in pencil and watercolor, these works capture the emergence of an image, the search for form and proportion before its realization in metal or on canvas. The precision of lines, axes and proportions, achieved with compass and ruler, gives even the most fantastical images the clarity of a technical drawing. In this Universum, the blueprint becomes not merely a preparatory stage, but an independent way of thinking about time and uniting watchmaking and art.
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2 artworks
Universum "Horological Zoo"
The ‘Horological Zoo’ Universum translates animal imagery into the language of Horological Art, combining zoomorphic forms with watch movement components. Each animal becomes a Horological Archetype, its form governed by the principles of mechanical anatomy and engineering logic. Unlike the classical bestiary, where animals symbolise virtues or vices, Chaykin’s creatures become allegories of the philosophy of time, each following the same underlying mechanical principle.
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4 artworks
Universum "Mise-en-scènes of Time"
In the ‘Mise-en-scènes of Time’ Universum, Konstantin Chaykin brings together works where nature, architecture and landscape become stages on which time manifests through movement, light and shadow, wind and water. Though these works do not depict watch components directly, they retain the mechanical logic of composition, with every element following an inner order. Chaykin transfers the principles of the watch movement into nature, revealing movement as an invisible yet universal force — from the curve of a river to the rhythm of clouds and the cycles of natural phenomena.
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2 artworks
Universum "The Geometry of Academicism"
The ‘Geometry of Academicism’ Universum brings together works in which Chaykin reinterprets classical principles of composition and proportion through the logic of the watch movement. Free of mythological characters and literary narratives, these works focus on pure forms, symmetry, calculation and the ideal circle. Continuing the academic tradition, Chaykin translates it into the language of Horological Art, using compass and ruler as primary tools. Classical subjects and genres become geometric constructions in which every element follows the logic of mechanical motion.
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4 artworks
Universum ‘Alice in Wonderland’
Lewis Carroll’s ‘Alice’s Adventures in Wonderland’ inspired Konstantin Chaykin to create a creative multiverse where the paradox of time, familiar characters, future watch blueprints and Horological Archetypes converge. At its heart is the Mad Tea Party, where the Mad Hatter’s stopped watch turns Time itself into a wilful character. Chaykin’s figures remain recognisable while becoming Horological Archetypes assembled from watch components according to the principles of mechanical anatomy. The Universum culminates in the ultra-complicated ‘White Rabbit’ watch and the artwork ‘A Mad Horological Party’, transforming the watchmaker’s bench into a space where a mechanical masterpiece and an entire mythological world are born.
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3 artworks
Universum ‘Time-Magic Enchantresses’
The ‘Time-Magic Enchantresses’ Universum continues Konstantin Chaykin’s visual philosophy of time, reinterpreting folkloric feminine beings who hold power over time and the elements through the language of Horological Art. At the heart of the series is the principle of mechanical anatomy, where watch components replace anatomical forms, becoming the body and character of each heroine. Erotomorphism unites mechanics, corporeality and symbolic energy, transforming each enchantress into an independent Horological Archetype. Executed predominantly in acrylic, the works merge the mythological, anthropomorphic and mechanical into a single artistic image.
