Toronto-based artist Sinziana Iordache works in graphite to capture both contemporary and classic timepieces with remarkable precision. Originally from Romania, she trained in architecture and interior design, and developed an interest in horological subjects after visiting MB&F’s M.A.D. Gallery in 2019. Her hand-drawn works reveal a measured sensitivity to the materials that define mechanical design — metal, glass, leather, and engraved detail — rendered with particular clarity of texture and reflection.
In this conversation with The Exclusivist, Iordache reflects on process, discipline, and the practice of translating engineering into graphite form.
Q&A With Sinziana Iordache
On Technical Challenges
Your drawings are often mistaken for photographs. Which elements of a timepiece — metal, glass, finishing, or design complexity — are the most technically challenging to render in graphite, and are there particular brands or models that are especially rewarding to translate?
Each element has its own challenges, but leather and engraved metal are definitely high on both the difficulty and reward scale. They require very different approaches to drawing, but both have the ability to really stand out on paper.
Leather feels more organic, and depending on the type, it reflects light in unique ways. It gives me a bit more freedom in how I draw. Metal, on the other hand, has a lot of variation. In watchmaking, anything engraved can be quite challenging, and the different guilloché patterns demand not only precision but also a good understanding of light and shadow.
When it comes to brands, A. Lange & Söhne, Breguet, and Bovet are always quite challenging because they combine all of these elements — but at the same time, they’re also some of the most rewarding to work on.
On Pre-Visualisation
You’ve spoken about mentally “drawing” a piece several times before pencil even touches paper. What does that pre-visualisation process look like for a complex timepiece, and how does it help avoid errors when working at full scale?
I’m the kind of person who likes to do a lot of research, so I tend to prepare for a drawing both through research and mentally. The visualisation process is really important because it helps me identify the challenging areas early on and figure out how to approach them. By the time I actually start drawing, I already have a good sense of where to begin and where I might run into issues.
That doesn’t mean there aren’t surprises along the way, but it definitely helps minimise errors. For example, I recently worked on an R. Gauthier HMS Prestige with a meteorite dial — an incredibly detailed piece. It took several mental drawings to decide on the best approach, such as whether to draw each line individually or focus on larger shapes first and add details later. Those are the kinds of mental exercises I go through before pencil ever touches paper.
On Process and Focus
Your drawings can take hundreds of hours depending on their size and complexity. Can you walk us through your process? Do you take breaks along the way, and are there particular habits or routines that help you stay focused during long drawing sessions? For instance, do you listen to music or anything else while you work?And do you prefer to draw in the morning, at night, or at a specific time of day?
I tend to be quite disciplined in my work. I don’t wait for inspiration to strike — I simply sit down at the drawing table and start. I set a goal for the day, decide which area I need to work on, and just proceed.
People often imagine the amount of time I spend on my drawings as a battle of will or focus. The truth is, that’s never really been an issue for me. I’ve always seen drawing as my therapy, and I tend to get completely lost in the process. If I’m not careful, I’ll blink and realise five hours have gone by without me getting up from the table.
So for me, the real challenge is knowing when to step away and take breaks, rather than pushing myself to stay focused.
I do need some kind of background noise when I work, but it took me a long time to figure out the fine line between something that fades into the background and something that becomes a distraction. I’ve finally found the perfect formula for me, even if it sounds a little nerdy.
Music doesn’t work because it pulls my focus, and podcasts do the same since I end up paying too much attention. What works best is having a series playing quietly in the background — something I already know and enjoy, but not anything new, because then I’d start watching instead of drawing. So most of the time, there’s some version of Star Trek or a 90s sitcom playing softly while I work.
I’m definitely not a morning person. For the longest time, I used to do most of my drawing at night, but with the workload being much heavier in recent years, that routine has gone out the window. Now I draw at any hour of the day — just not before coffee.
On Favourite Timepieces
Do you have favourite timepieces or brands to draw? What makes those pieces particularly enjoyable or inspiring for you?
Definitely brands like A. Lange & Söhne, Breguet, and Bovet. I love the challenge. Their finishing is exceptional, and the variety of textures and surfaces makes for drawings that are never dull — and a process that always ends up teaching me something new.
On Dream Timepiece
If you could draw any watch — past, present, or imagined — what would it be?
Since MB&F was the brand that started everything for me, I’d have to say one of their watches — perhaps going back to the roots and drawing one of their early Horological Machines. It’s been on my list for a long time and will definitely be the next personal piece I draw. I’m also a big fan of Vianney Halter, so any of his pieces would be a dream to work on.
On Inspirations and Influences
A visit to MB&F’s M.A.D. Gallery exposed you to the intersection of design, engineering, and sculpture within horology. Are there architects, designers, or artists — past or present — who continue to influence your approach to precision and detail?
The list of inspirations is honestly never-ending for me. In terms of watchmaking, Vianney Halter and Kari Voutilainen are definitely high on that list. I also draw a lot of inspiration from architecture, especially from people like Tadao Ando and Carlo Scarpa, who both have such a thoughtful way of working with light, shadow, and raw materials.
When it comes to art, Rembrandt van Rijn was the first artist who really captured my attention as a child, and more contemporary artists like CJ Hendry and Kit King continue to inspire me with how they blend realism and precision. At the core of it all, my inspiration always comes back to detail, light, shadow, and precision.
On Collector Perspective
As someone who draws timepieces for collectors, do you collect anything yourself — watches, art, or other objects? If so, what is the most prized piece in your collection, and what draws you to it?
I’ve never been a big collector of anything. I tend to be quite minimalist in the accumulation of things, but I do have a small watch collection and a deep love for both watches and art. I can definitely see myself collecting with more intention over the years. I’m also quite nostalgic, so pieces that are meaningful or passed down through generations always hold the most value for me.
One of the most special watches I own is a fairly recent one that I received from my family. It’s one of those pieces that reminds you how much your loved ones pay attention and support your passions — even if they don’t necessarily share the same interest in watches.
Sinziana Iordache Official Website | Instagram
