For nearly half a century, Professor Paul Hatgil's work was influenced by the Constructivism Movement, (which is an art term loosely applied to three-dimensional work that is built rather than carved or cast.) To confuse the layman even more, it is also termed as abstract. The artist's early work in ceramics, and its forming by a potter's wheel, resulted in countless utilitarian objects and a reputation in the discipline. Soon after, the use of clay became a medium only for self expression. His fascination with materials and tooling was to change directions in his art. It would involve the use of materials that were an antithesis of being manageable by hand. His reassignment at the University of Texas Art Department from ceramics to the teaching of three-dimensional design presented an opportunity to experiment with a variety of materials and the use of machinery.

The teachings of Constructivism in the classroom was a delight for the professor because his means of employment prior to entering art college entailed working as a machinist. The introduction of plexiglass and plastics as art held a fascination for artists working with light and color at the time, and although the early pioneers working with these new materials were primarily Russian and French, the movement that incorporated industrial techniques and tooling in the making of art became common place on the American Art Scene. 

The teaching of Constructivism in art schools and institutions of higher learning during that period was the most important factor in advancing the nonobjective art movement. Although the "Selected Works," display examples of abstract expressionism, the mosaics and latest painting in encaustic indicate a satisfaction in image-making. From works in clay, one of man's earliest forms of art, to working in encaustic that had their beginnings in ancient Egypt and Greece, Paul Hatgil has shown an interest in the total freedom of self expression. He believes the making of art is a God-given gift and brings happiness to those fortunate enough to recognize its value to society.

Professor Emeritus Paul Peter Hatgil attended the Massachusetts College of Art, Columbia University and the Harvard University Extension School immediately following his tour of service with the military during World War II, where he served with the U.S. Air Corp in the South Pacific area of operations. In 1951 he was appointed as an instructor at the University of Texas and in 1985 named Professor Emeritus. During his tenure of thirty-four years at the University of Texas he instructed over 2,000 students in the art of ceramics, sculpture and two and three dimensional design. During the inaugural years of the University of Texas Huntington Museum he served as the Design Curator for more than 200 art installations that included the Texas Pavilion at the New York World's Fair. Many of his works adorn public and private buildings and are included in national and international collections. His pre-occupation with a variety of art media and techniques attest to his relationship with materials as they relate to the human experience. Although no longer engaged in the noble profession, Professor Hatgil has published the results of his research in the ancient art of encaustic painting, contributes to professional journals, and continues his exploration and discovery in the field of studio art. In 2003 he was appointed for a three year term as a member of the American Hellenic Educational Foundation whose mission is to award scholarships to worthy students. A catalog for a recent Hatgil exhibition of art included the following statement: “The creating of fine arts is based on the engrossment of the mind and of personal inventiveness and experience. The work of art should also invite inquiry, research and interpretation, and its evaluation be relegated to those having been schooled in its history and experience.”