Harry Hachmeister negotiates the themes of his art in interdisciplinary works that range from photography, drawing and painting to ceramics. He often groups the individual works into expansive installations that refer to states of no longer and not quite yet. Processes of change, provisional and intermediate stages form the starting points for Hachmeister’s artistic treatment of different identities, bodies and their attributions. Dumbbells and weights borrowed from the cold and serious fitness context become playful ceramic objects in amusing shapes, which, sometimes somewhat exhausted or bent, but always colorful and sometimes even glittering, invite the viewer to touch them. The otherwise rather contemplative motifs of folk-religious reverse glass painting are pleasurable and queer in Hachmeister’s work. His bodies do not feel bound to their intended purpose but create a detachment from normative reality through ambivalence, delicacy and play.