During his first years in Paris (1936-1940), Caziel absorbed different styles, including Cézanne, Fauvism and Cubism. He retained from them what had occupied him when seeing early Italian painting during his travels in Italy - he was astonished by the sober means of proportion between line and colour, by which the early Renaissance masters translated light and their surroundings. Like them, Caziel strived to create a space which is alive - a space before and behind - which engulfs us all and which is within us. Odalisque illustrates these investigations in the representation of space through the stylistic influence of Matisse.
Caziel's work is represented in the collections of the following museums: Musée National d'Art Moderne, Paris; Vatican Museum, Rome; National Museum, Warsaw.

Born in Poland, Caziel spent the major years of his artistic development in Paris where he associated with the 'École de Paris' and befriended Picasso. Throughout the 1940s, Caziel's stylistic preoccupations were divided. Strong lyrical and expressive compositions much indebted to Picasso and Matisse alternate with works revealing his quest for Abstraction. However, by the late 1940s Caziel reached artistic maturity and became fully committed to Abstraction, painting rigorous geometrical patterns. When the legendary Cubist art dealer Daniel-Henry Kahnweiler assumed Caziel's abstract work to be an experiment from which he would return to figuration, Caziel refused his offer of representation and insisted: "Non, je suis abstrait"/ (“No, I am abstract”).

Caziel exhibited at Galerie Allard and Bernheim Jeune in Paris and at the Grabowski Gallery in London. A major retrospective of his work was hosted by the National Museum in Warsaw in 1998.
Caziel's work is present in the Musée National d'Art Moderne, Paris; Centre Pompidou, Paris; Vatican Museum, Rome; National Museum, Warsaw.