Bstudio Style Presents Martin Lachmair

At Bstudio Style, we believe that behind every remarkable work of art lies a story worth telling.

It is our privilege to present an exclusive conversation with Martin Lachmair, an internationally acclaimed artist whose work has captivated collectors and art enthusiasts through the extraordinary sensitivity, depth, and technical mastery with which he transforms ink and watercolor into a unique visual language.

In this interview, Martin opens the doors to his creative world, sharing his artistic journey, inspirations, philosophy, and the passion that has shaped his career over the years.

We invite you to discover not only an exceptional artist, but also the person behind every brushstroke.

We hope you enjoy this conversation as much as we enjoyed bringing it to you.

You can translate this page into your preferred language using the translation option available at the bottom of the website.

Sincerely,

Miguel A. Briones

“The Power of Thoughts”.

1. You often say that drawing has been central to your life since childhood. Looking back, what fascinated you about drawing back then, and what has sustained this fascination all these years?

That’s a very good question, one that I’ve often pondered myself. I don’t know the true reason why drawing has accompanied me throughout my life. But I can talk about some aspects that I find so appealing about visual art. First and foremost: with very simple means, for example, a pencil and paper, you can create a whole new world of your own, complete with stories and its own unique magic. And all this without a team, without electronics, without your own studio, and you can draw almost anytime, anywhere, as long as there’s light.

As I got older, I liked the idea of ​​a life as an artist, a free spirit, unconventional and wild. Having my own solo exhibition was, of course, the goal I had to achieve back then, and yes, of course, I was waiting to be “discovered.” After two or three exhibitions, the fascination and the urge to become “famous” had faded. I didn’t see myself as an artist who spends his days alone in his studio or discussing everything under the sun with a group of colleagues in a café.

What never faded, however, was my fascination with the medium of the image in the broadest sense. Photography and moving images have always played, and still play, an important role in my creative work, even if in recent years they have only complemented drawing.

2. Your work celebrates one of the oldest artistic tools – the pen. What can ink and handwriting express in an age dominated by digital creativity that technology cannot yet?

Smell, texture, and sound. The rustling of paper, the scents that have remained unchanged for decades, hanging in every art supply store. I simply love picking up an old sketchbook, smelling the paper and ink on its pages, the unique sound of quickly flipping through them. But most important to me is the direct connection between my eyes, my thought, my hand, and the pen, directly to the paper. All of this, this entire experience, is infinitely different from digital work.

3. Your architectural drawings are astonishingly detailed. What happens in your mind before the first line touches the paper? How do you transform a building from something you see into something you truly perceive?

It started in my youth. On every walk through Vienna, I was fascinated by facades, their gates, and windows. Images of what was happening behind them immediately formed in my mind. Stories about the inhabitants, how they lived, what their daily lives were like, and how the interior of an old building had changed over the decades were created in my imagination. Actually, I draw stories about people. You don’t see these people, but they are the main subject when I draw all these houses, facades, and windows. The interest in architecture is there, but only secondarily. That’s why I prefer to draw simple dwellings and not so often landmarks, castles, or palaces.

4. Can you explain your creative process to us—from choosing the subject to the final watercolor stroke? Are there any rituals, favorite materials, or specific tools that have become indispensable to your work?

Well, in my youth, I was certainly influenced by thoughts like: which scene is worth drawing, what will my audience say about it, which format and technique should I use? That was always very strenuous and agonizing. While I became more self-assured in later years, it took a long time before I could simply pick up an ink pen and pencil and start drawing, as I do today. Even with large compositions, I don’t plan anything in advance. Only when the first tree is in place, or the first house with its dark windows, does a scene with all its details develop in my mind. But even these initial “images in my head” are constantly changing as I draw. So everything is constantly in flux, just like in life.

5. You are creative every day, a discipline you’ve maintained for years. How much of your creativity is inspiration and how much is simply being present, even on days when inspiration is nowhere to be found?

It’s become an addiction; I can’t sit still and not draw. It starts in the morning and goes on until evening, even when I’m already in bed and the TV is on, I’m still drawing. It took some time for my family to accept it. Now, however, I have official permission to draw even at family gatherings, which I love very much. With three exceptions: not at Christmas, not at Easter, and not at birthday parties.

I see it as a gift not to have to wait for inspiration. I also don’t feel the urge to draw something that others will then call “creative.” In truth, none of that matters to me. Similarly, it’s not important to me to have exhibitions or to gain recognition in the art world. What I find particularly gratifying are the messages on my online channels, and I’m especially pleased by those who write to me saying that I’ve motivated them to draw. Then I think my drawing has meaning for others as well.

6. In addition to your own work, you’ve invested a lot of time in teaching, including through workshops and instructional videos. What do you find most rewarding about sharing the joy of drawing with others, and have your students changed your perspective on your own craft?

As mentioned above, it makes me incredibly happy—you could even say it gives meaning to everything—when I can convey the joy and freedom that comes with creative activity. And I’ve had to learn that I can only do this if I stay completely true to the techniques and motifs that I use myself every day. Showing anything else—different techniques or styles—in my courses would simply be wrong and extremely uncomfortable for me.

7. Your drawings require an extraordinary amount of patience and attention to detail. What has drawing taught you about our perception of time and the value of pausing?

My drawing makes me emotionally free and independent. It’s not that I forget everything around me when I draw; I definitely remain in the here and now. I’m an impatient person and also very careless and imprecise in many things. To put it simply: I have no idea why or how I manage to experience each day as pure happiness while drawing and to be grateful for it.

About Mariana Briones our collaborator

Mariana Briones is a Mexican US based journalist and producer. She has published articles for magazines including Newsweek, Elle, Marie Claire and Cine Premiere, and has worked as line producer for Canal + and Television Espanola among other networks. 

Throughout her career she has interviewed over 100 international personalities including Sir Anthony Hopkins, Richard Gere, Julia Roberts, Clint Eastwood, Diane von Furstenberg, Bradley Cooper, Alex Wang and Oscar de la Renta.

You can contact Mariana for collaborations, editorials or advertising at marianabriones@me.com