After the first period of his work „Early Works” 1968-1973 (New Figuration) – framed figures of „Fashionable Models” depicted in motion with a narrative silhouette in the background and many small drawings presented at numerous exhibitions and festivals, the second period (visual symphonies 1974-1988) brings his almost complete separation. The premiere exhibition of the „Seasons” symphony took place in the gallery of the Studio Theatre „u Szajny” – the opening took place on April 26, 1975.
In 1976, in Copenhagen's St. Gallery Nikolai Kirke presents the exhibition „For Improvement”. He spent the first half of 1976 in Denmark, preparing the organizational structure of the exhibition and he also made sketches of the „In Green” symphony and the „Minireplika”. Together with painter Geno Małkowski, who arrived in November, they organize a special exhibition there.

After the success of the exhibitions of the "For Improvement" Movement, of which he was co-animator and first commissioner together with Geno Małkowski and Witold Masznicz, as well as after foreign successes in Copenhagen and France: Nevers, Reims, Blois, Grasse (1976-78), a very bad atmosphere both inside and outside the Movement caused Pius to withdraw from social activity in favor of individual activity. The Movement exhibition prepared in Paris (Pompidou Center) by Pius Ciapało and Geno Małkowski did not take place. There is also no agreed exchange with the group, e.g. Louis Cane, Claude Viallat, Olivier Mosset and others.
Instead of the "For Improvement" exhibition, there was an exhibition by Ryszard Stanisławski from the Museum of Art in Łódź. It was badly received by French critics thus closing the way for Polish artists there.

In 1979 – after being elected to the Presidium of the Warsaw District of the Union of Polish Artists – Ciapało initiates a district review exhibition of the Warsaw environment in a democratic formula. After the 14th District Exhibition (Zachęta, 1980), referred to in the media as „democracy in art” (Ciapało was the author, commissioner and co-arranger – together with Geno Malkowski – of the exhibition of 3,000 works at Zachęta Gallery), he definitively abandons participation in group exhibitions and public activities.
Nationwide discord and terror of the authorities gave birth to martial law (December 13, 1981) resulting, among other things, in the dissolution of the Union and the loss of union property. When the Union of Sculptors (ZAR) was founded, followed by other unions of visual artists, many well-known painters and graphic artists gathered around Prof. Mieczysław Wejman. Lofty ideas of the welfare of endangered national culture, the chance to regain the accommodation base of artists, the possibility of putting pressure on the authorities to establish a National Center for Contemporary Art – these and other aspects determined the activity of Pius and Geno, among others. Creating ZPAMiG, Pius Ciapało was elected to the Presidium of the Warsaw District to reliably force the authorities to establish a Center for Contemporary Art in Warsaw. Thanks to the efforts of Jan Karczewski – vice-president of the ZPAMiG – the Ujazdowski Castle was granted for the Contemporary Art Center.

In 1985, Pius Ciapało begins teaching at the Studio of Visual Arts at the Higher School of Agriculture and Pedagogy in Siedlce. In 1987, he habilitates at the Academy of Fine Arts in Gdańsk. In 1988-1989, he does a research internship as a visiting professor at Eastern Illinois University in Charleston (USA). He is inspired by the gigantic forms of downtowns skyscrapers.
He draws and constructs his first polygonal paintings – starting in Charleston (Illinois) the „Architectural” period (1989-1994) – a series of singles, diptychs and vertical triptychs (illusionistic paintings, suggesting three-dimensional forms).

Pius' post-conceptual oeuvre formally contains many elements of art theory, such as its language, syntax and therefore – structure. The rich output of the mature artist has not been analysed so far, also from the content side, for which he paid a high price in the age of censorship. It was not so much eroticism or the excessive sensualism attributed to him or some obsession that motivated him to work. He was inspired by the drama of our species separated into two human sexes. DESIRE (desire) heightened by an inner light found its clearest expression in visual symphonies revealing his solidarity with the utopian Swedenborg when he confessed: „two Souls making love for a living will create one angel after death”... The post-American skyscrapers methodically arranged in cycles, besides the factor of beauty, develop a wealth of vertical then again horizontal structure – framed statically, then again dynamically, depicted variantly in a large number of works created over many years.
After returning to Poland, he mainly creates monumental works of large size: 5. and 8.-angle paintings (3 to 5 metres high) and small ones – as „sketches”. While still in America, in addition to his teaching work, he created a number of painting compositions which were later presented at the Tarble Art Center in Charleston. A total of 28 painting works were acquired by the Hollywood collection of Ashkenazy Galleries. In 1995, with the student art club „Trends of Art”, he stays for 2 months in Israel (kibbutz Beit Haemek), where his concepts of the tower of „Babel” – the ideal symbol of human arrogance giving rise to violence resulting in international terrorism – are polarised. Both laboriously constructed dynamic versions that ignore the laws of statics – collapse.... one to the left, the other to the right ... to the east, so to the west...

In 2001 – after having made about 80 monumental paintings of the second part of 'Architectural' painted with the dripping technique and dedicated to the memory of J. Pollock, interrupted by the shocking fate of the WTC NYC Persons and buildings – Pius returns to continue the series 'Unlikely and Unlikely Similar Forms'. Two series of paintings composed on canvases and laminated boards in the shapes of circles and ellipses are created – the „Rondo” series and the second: „RONDEAU” – Rondo, my circles and ellipses.

Circles and ellipses encapsulate Pius' methodical works with colour on the plane according to the Euclidean order (rectangles – early works and visual symphonies; triangles – 'Capriccio'; polygons – 'Architectural') allowing the author to turn towards space. He is currently working with colourful, combined with stained glass → reinforced concrete garden sculpture. And so, as in painting, he deals with monumental structure – static and dynamic.