According to Joanna Kordak-Piotrowska, the way Piasecki looks at the female body can be compared to his experiments with deconstructing the bodies of dolls. Both a woman and a doll were fragmented by the artist’s eye who often chose to distort their bodies. The unsettling results of these experiments can be tied to the artist’s tragic childhood experience of war that changed his perception of human body.
Piasecki did not perceive documentary photography as one of his artistic activities. Although photographic reportages to him were paid employment, he managed to capture the mood of photographed scenes, often enclosing the depicted characters in the frames of buildings, sidewalks and trees. His compositions make use of multiple photographic techniques and sometimes employ a distorted point of view to achieve a desired effect.
Piasecki’s style of documentary photography was characterized by ‘noir realism’, inspired by Italian neorealism. This can be tied to the anti-aesthetic qualities of his photographs which documented the post-war reality of Poland. His pictures demonstrate his strong interest in textures of photographed surfaces such as walls and debris. The artist uses deep focus and multiple framing of his subjects, often enclosed in the lines of buildings, sidewalks and streets.
Dolls were most often used as protagonists of Piasecki’s theatrical studio arrangements. Their bodies were often deconstructed and then put in boxes or framed: either a symbol of oppression or protection from the outside world. Margaret Iversen states the artist’s whole body of work exhibits the „aesthetic of containment”: she argues that Piasecki’s boxes within boxes, the emphasis on framing shown in his documentary photography, the collection of found objects, as well as boxed assemblages, all signify his need to preserve „what is in danger”.