By 1963, Caziel’s paintings show long streaks of colour, an effect of which is reminiscent of the 1950s so-called ‘affiches lacérées’ of the 'Informel' group. Caziel’s painted ‘déchirages’, the technique of tearing dry paper by free-hand, usually reveal a rich red or black background. These works are dramatic in their expression and thoroughly modern in their origin. The concept of destructuralisation of imagery had come to Caziel’s attention in 1948 when he had befriended Picasso. Caziel's interpretation of deconstruction led him to Abstraction in 1951. His so-called lacerated paintings reveal intentionality, self-awareness and embodiment as the basic features of the phenomenological consciousness, which uses a method of reflective attentiveness that unveils the individual's 'lived experience'.
By choosing to leave figuration behind for Abstraction in 1951, Caziel declined Daniel-Henry Kahnweiler's offer of gallery representation and the fame it ensued.

Caziel's works are present in the collections of the Musée National d'Art Moderne, Centre Pompidou, Paris; Vatican Museum, Rome; National Museum, Warsaw.