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Writing in ''Architecture Week'' ([[August 4]], [[2004]]), Hauer explains that "Continuity and potential infinity have been at the very center of my sculpture from early on." Hauer made an extensive study of biomorphic form, especially what he calls "saddle surfaces," which combine convex and concave curvature and thus allow for smooth self-combination, sometimes in multiple dimensions. Another inspiration is the sculpture of [[Henry Moore]], with its fluid curves and porousness.
Hauer's enthusiasm caught the imagination of his colleague at [[Yale]], [[Norman Carlberg]]. Both were devoted students of the arch-formalist [[Josef Albers]]. Indeed, from the beginning, there was in this modular approach to sculpture an implicit [[formalism]] and even [[minimalism]] which held itself aloof from some of the other artistic trends of the time, such as the [[pop art]] and the [[post-modernism]] that were just beginning to emerge. As Carlberg recalls, within his artistic circle "you analysed, you looked at something, but you looked at it formally just for what it was and the message was almost always out of it."
==See also==
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