In 1955, he was admitted to the sculpture studio of Profesoor Jan Kavan at the Academy of Arts, Architecture and Design in Prague (VŠUP), majoring in building ceramics,[2] and he met his wife Hana Purkrábková there.

He graduated from the school in 1961, and after completing military service from 1961 to 1963 participated in group exhibitions of young artists at home and abroad (Sweden, West Berlin, Amsterdam) from 1966 to 1968.

After the Warsaw Pact invasion of Czechoslovakia, he was unable to exhibit without registration in the normalization Union of Visual Artists, and worked in isolation as a restorer from 1971 to 1989, salvaging sculptures in the area of the north Bohemian brown coal basin.

[2] At the end of the 1980s he participated in a number of unofficial exhibitions (Gallery H, Vojan Park, Forum ’88) and contributed to the anthology Grey Brick, published with the support of the Jazz Section.

[3] He thus drew on the constructivist tendencies of the time and the distinctive, almost grotesque colouring of the individual elements also reflects a certain change in the life experience during a short period of relative freedom.

[6] The nudity of his animal figures, the taut muscles, exposed nipples and genitalia, the facial expressions, the positions depicted and the distorted proportions are intended to disturb, unnerve and lead to deeper reflection.

Pauzer's graphic cycle of animal allegories can be considered one of the culminating expressions of intellectual resistance to aggression and the newly established totalitarianism of the decadent power in Czech art.

[13] Large-scale drawings combined with watercolour tend towards abstraction, but original natural elements can be traced in them, reminiscent of embryonic tissues, cell cultures, emerging life and its demise.