Exhibition Gallery

On the canvas is an autonomous watch module: a brass mainplate, steel screws, and a pyramidal base locked into a rigid construction.

This etude for the "Mad Tea-Party" series reimagines the Dormouse from "Alice's Adventures in Wonderland," transforming famous character into a metaphor for both slumber and mechanics.

“Dodeca” is a philosophical archetype of time in which mechanical form is bound to sacred symbolism.

In the heart of this work lies the legend of the Wanderer known in the Christian tradition as the figure who rejected Christ on the way to Golgotha.

Here Chaykin turns to the image of the ancient Greek goddess of fate, spinning the thread of human life.

This is an author's copy and the third self-portrait of watchmaker and inventor Konstantin Chaykin.

A self‑portrait dedicated to the watchmaker’s daily, almost monastic work. The master’s figure, bent over a tiny mechanism, is set between a warm ochre background and a cool turquoise floor, the line that divides the realm of thought from matter.

Chaykin again maintains that the lines of a mechanism can suddenly become the contours of a face, and that a spring can become a living curve capable of conveying emotion. The ruby end‑stone dot at the center of the spiral becomes an eye and, at the same time, the heart of the watch, a reminder of the fragile point of balance between precision and feeling. By giving the most delicate assembly of a chronometer a human expression, the artist turns an engineering idea into a poetic symbol of time, endowing mechanics with character. The beige background, painted with light strokes, seems to muffle the ticking of an unseen movement. It invites the viewer to listen to what the unwinding spiral whispers: of life’s cycles and the quiet breath of time.

A fan‑shaped regulator plate and a set of screws turn into a stern, almost totemic face, while preserving the metallic texture of bronze against a warm ochre ground.

The painting “March Har.1” belongs to a series devoted to Chaykin’s unique Wristmon “White Rabbit.”

This painting is part of Chaykin’s visual interpretation of the “Wristmons” series.

Among watchmakers it is good practice to balance wheels and other rotating parts. Mechanics “dislike” unbalanced devices.

Is a choreography of the horological heart. Against a warm, gilded backdrop, the balance wheel and escape wheel stand poised, like two partners upon a stage.

Is a concise mechanical composition about the hidden force of genesis. Two golden planes converge at a sharp angle, forming a sacred triangle.

Turns horological details into an elegant floral motif: three sky‐blue bridges rise like stems, lifting ruby gem‐flowers, while a star‐shaped seconds wheel unfurls at the side like an aster bud.

In this painting, Konstantin Chaykin finds an image of watch module mechanics that seems to him an unusual illustration of attachment as an emotional concept.

The work shows that symbols out of context retain their recognizability even in a different system of coordinates.

An eerie image inspired by Konstantin Chaykin's search for new designs for the Wristmon collection of watches.

Ironic image of the dial of the watch “Goddess of Tempo”, which is made in the erotomorphic style invented by Konstantin Chaykin, but not yet realized in watches.

One of Chaykin’s works from the “Time‑Magic Enchantresses” cycle, where he extends the anthropomorphic principle to the forms of watch components.

The subject of this painting by Konstantin Chaykin is a module of a fictional watch mechanism made in an anthropomorphic style.

An ironic image of the watch mechanism module in the form of a beautiful woman in a fluttering sundress from the “Time-magic Enchantresses” series.

In this painting, Konstantin Chaykin tried to convey the feeling of the golden-sand style of finishing the details of the dial and mechanism of the Sandmann watch, which prompted him to choose this name for the watch.

The painting "Thinking of the Time's Birth" is the artist’s attempt to look at the Universe – and at the creation of a watch – through the lens of philosophy and natural theology.

In 2025, the world will celebrate the 300th anniversary of Antonio Vivaldi's cycle "The Contest between Harmony and Invention," which includes the famous concertos "The Four Seasons."

Konstantin Chaykin, the artist behind this artwork, has recently appeared more frequently in his new role as a painter.