{"id":33286,"date":"2025-07-23T21:55:19","date_gmt":"2025-07-23T21:55:19","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/?p=33286"},"modified":"2025-07-23T22:11:01","modified_gmt":"2025-07-23T22:11:01","slug":"lexia-hachtmann","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/lexia-hachtmann\/","title":{"rendered":"Lexia Hachtmann"},"content":{"rendered":"

Lexia Hachtmann<\/a> (*1993 in Berlin) is a British-German artist. She completed her Art and Design Foundation Diploma in 2013 in Brighton and returned to Berlin to continue her studies in Fine Art Painting at Universit\u00e4t der Ku\u0308nste Berlin. Here, she obtained a Meisterschu\u0308ler degree in the painting class of Prof. Mark Lammert in July 2021. Lexia Hachtmann is alumna of the 2022 Goldrausch Ku\u0308nstlerinnenprojekt and went on to study a Master of Fine Art (MA) in Painting at the Slade School of Fine Art, UCL London for which she received the DAAD Grant.<\/p>\n

Working in both figurative oil painting and printmaking, Lexia Hachtmann\u2019s work deals with conceptions around miscommunication, identity and social hierarchies. To her, the area of the canvas presents a space on which to comprehend, reenact and visualize universal feelings of isolation, intimacy and longing. Lexia Hachtmann\u2019s protagonists often move through displaced rooms, stagelike spaces of colour that are neither located in- or outside but rather depict moments of the in-between. Her figures often seem introverted and disconnected from one another, each in their own space, their own mind; fragile yet present. She is engaged in these motives that point to the thresholds; the boundaries between the private and public realm. This could be a physical and\/or emotional space. The use of ambiguous objects and situations on the canvas enable her to create banal and yet uncomfortable situations. She aims to retain a certain ambivalence in her chosen subjects so that they may speak to our current and complex times by using fragmented, cropped, blurred, awkward and\/or heavily enlarged images. In this way notions of both the fragmentary and the monumental are important trajectories in her work. Lexia Hachtmann\u2019s paintings function like film-stills, paused in that very<\/p>\n

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Bella Donna, 145 x 130cm, Lexia Hachtmann, 2025.jpg<\/figcaption><\/figure>\n
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Out of Joint, 145 x 130 cm, Lexia Hachtmann, 2024.jpg<\/figcaption><\/figure>\n
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Pra\u0308sentierteller, 51 x 45.5cm, Lexia Hachtmann, 2025.jpg<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Lexia Hachtmann (*1993 in Berlin) is a British-German artist. She completed her Art and Design Foundation Diploma in 2013 in Brighton and returned to Berlin to continue her studies in Fine Art Painting at Universit\u00e4t der Ku\u0308nste Berlin. Here, she obtained a Meisterschu\u0308ler degree in the painting class of Prof. Mark Lammert in July 2021. […]<\/p>\n","protected":false},"author":3,"featured_media":16239,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-33286","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/33286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=33286"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/33286\/revisions"}],"predecessor-version":[{"id":33316,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/33286\/revisions\/33316"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/16239"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=33286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=33286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=33286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}