For thirteen years, I have walked the streets of New York, attempting to depict the much-photographed city in new ways. In the process, several series have coalesced. The most complete series, Puddle Scapes, involves photos of the city as momentarily captured in unstable reflections on street corners and sidewalk depressions. In this series I’ve tried to give fresh energy to a commonplace subject by striving for dynamic compositions that open up evocative alternative worlds. What attracts me to the subject is the chance to combine multiple layers and textures in painterly collages: cement cracks, rusty curb lining, the bold geometry of traffic markings, fleeting glances of rushing New Yorkers, and skyscrapers reflected as dreamy, soft-focus apparitions. Ultimately, my goal is to unveil and showcase the odd dreamscapes that surround us on every corner if we bother to look. (My submitted photos include four of these images: “Deep Brooklyn”, “Blastoff”, “In His Lane”, and “Bike Lane Tidal Pool”.)

In my series on New York architecture, I have eschewed postcard shots of famous landmarks in favor of framing interesting patterns and unusual geometry (“Building Pattern: Earth Tones” and “Building Pattern: Park Avenue Modules” belong to this series). In another series, I have taken close-up shots of the wear and tear on the sides of delivery trucks, creating abstract compositions out of corrosion and graffiti remnants (“Delivery Truck Abstract: After Klee” is an example). Among my street portraits, I have captured numerous images of New Yorkers’ obsessing over their cell phones, including the submitted photo “Cell Phone Angel”. And I’ve photographed many New Yorkers in their cars, concentrating in particular on commuters stuck in traffic, their loneliness and other emotions spotlighted by low-angle late-afternoon sunlight, as in “Car Man”. But, every now and then, the beauty of the good old-fashioned skyline, especially juxtaposed with an interesting sky, grabs me, and I can’t help but celebrate the Big Apple in all its glory (as in “Storm’s Coming”).



Pierre Hauser is a photographer based in New York, NY, where he photographs street scenes, architecture, found abstracts, puddle reflections, and several different kinds of street portraits. He has also completed two documentary projects abroad. In Liberia, West Africa, he took portraits of survivors and orphans from the 2014-15 Ebola epidemic, which were displayed in a solo show at the Tides Foundation Gallery in San Francisco. In Bangalore, India, he worked with professors of urban studies to document the marked expansion of that city and the resulting deleterious effects on the environment and small landowners; the photos were shown at the Vismaya Gallery in Bangalore and will be included in two upcoming books. Hauser’s New York photos have appeared in numerous juried shows at such galleries as Los Angeles Center of Photography, Big Picture Denver, A Smith Gallery (Texas), Umbrella Arts Gallery (New York), New York Center for Photographic Art, the Southeast Center for Photography (South Carolina), and ph21 Gallery (Budapest, Hungary). Many of Hauser’s photos have been sold by, an online portal operated by the Duncan Miller Gallery in Santa Monica, California, and in 2021 Hauser was chosen as one of YourDailyPhotograph’s “Hot 100.” His work has been featured in Town and Country MagazineThe Photo Review, and Camera Obscura.


Featured Image: Delivery Truck Abstract, After Klee ©Pierre Hauser