"If you want to build a relationship with a work you need to be open and present, and you need more time.
The painting that seems the most challenging, irritating, boring, ugly, sweet- -the one you think you already know or the one that seems too far out - is the one you pick.
Sit in front of it and look carefully.
First you will see some paint and stuff on a surface.
Then slowly, with patience, openness, curiosity and presence, you will go beyond.
And the painting you least wanted to talk to will talk to you.
Listen carefully, absorb with all your senses and let the mind create a new experience."

Haussmann embraces the dialogue with his audience and the inclusion of the environment into his work. He engages in interactive projects and collaborations such as "Video Sonic Project" with the Media Institute of the University of Tuebingen; "Darwin's Coral - One Ocean Project", a collaborative exhibit with OneWorldOneOcean; "The Third Image", a photo project with Rick Ashley; "The Nucleus Project" with Werner Trotter; and others. He engages scientists in a non-verbal dialogue, "Dialogues", at the Broad Institute of Harvard and MIT; participates in transatlantic exhibitions such as "KunstTraject langs de Leie", Belgium, and "Art in Embassies", Brussels; creates site-specific exhibitions such as at the ballroom of the Goethe Institute Boston; and more.

Haussmann also enjoys the exchange with fellow artists and students. He has been a mentor and educator at Lesley University, Art Institute of Boston, and at New Hampshire Institute of Art; and since 2014 has been offering courses at the Truro Center for the Arts at Castle Hill, Truro; the Provincetown Art Association and Museum, Provincetown; and the Montserrat College of Art, Beverly. He was the artist-in-residence at the Broad Institute of Harvard and MIT, 2012 - 2015.

Growing from the lineage of abstract expressionism and color field painting, artist Bernd Haussmann uses vibrant colors and layers of subtle washes to convey the emotion of existence. Haussmann's interest lies within what he calls subjective environments: that of the natural world and that of the world within the painting. How do the spiritual, the material, the cultural and the natural environments influence each other? Haussmann asks himself and his viewers if these subjective environments meet, connect or overlap; and how his art becomes a connector and stimulates interaction. Accordingly, Haussmann sees his work as a collaboration between the artist, the painting and the viewer; a playing field where each must work together to create and also understand the greater relevance of both the painting and of life.

Haussmann continues to challenge how the viewer perceives and interprets images and iconography. While some may see the new paintings as more representational than Haussmann’s past work, the artist maintains that the new paintings are among the most abstract and conceptual that he has ever done. Though his lines may appear to be simple and familiar symbols representing mountains or hills or water or waves, we must look beyond the line and step outside of the learned and cultural associations that assume these lines are representational.

His work has appeared in such publications as Metropolitan Home, Elle Decor, and The Boston Globe.