In the first phase of his artistic career, from the late 70s to the late 90s, Pasciuti could define himself as a post-impressionist. His paintings depict nature, mainly the countryside of the Apulian hinterland and the interiors of houses. Already at this stage, his works transcended the mere reproduction of reality, and the colour of his landscapes, in a harmonious way, began to be at the center of his painting.

Some of the elements depicted are iconic, such as the small house, the farm, the trullo, the stone wall, the red poppies or the sea with the unmistakable sailing boat.

The painting technique he adopted was very personal, almost instinctive, made of countless brush strokes with touches and pats. His typical technique is part of a broader perspective which gives the public a unique representation of the Apulian landscape. Through the different seasons it ranges from bright and fresh spring colours, in its intense and warm summer light, up to the more subdued and tenuous atmospheres of the autumn-winter period.

In the early 2000s, Pasciuti embarked on a new direction for his artistic production. This represented the first step towards abstract art, which will engage him in the last period of his life. The path that led him to a complete abstraction was not immediate, but it was composed by several stages, all directed towards a gradual breakdown of the figurative subject: the real is reviewed, revisited, reinterpreted.

The result was a new artistic period that characterized Pasciuti’s painting for over a decade: "Metaformism", as the art critic Giulia Sillato defined. This artistic movement represents for Pasciuti a certainly important period, with a notable production of works, coherent as in the subject and in the research as well. This unique production is mainly characterized by a precise compositional scheme: the subject’s reference to reality results less and less evident. It is represented in complex forms, skeins and tangles, apparently random but united by a chromatic harmony. A harmony that can be based on bright colours or dull, but always held together by a neutral background, light or dark shade. Overall, nothing is left to chance, and this can be noted by looking at the piece of art in its entirety.

In the abstract phase, the artist’s path of liberation from the figure reaches its peak. The real is dismantled into geometric, simple and primal forms. The "blocks" (as the artist used to define the geometric figures) are areas of colour, and the non-homogeneous, worked shades contribute to the artist's refusal to follow pre-established canons and enhance the instinctive, distinctive character of his painting.

The subjects, in this eclectic phase of his painting, are sometimes enriched with captions, almost as if the painter wanted to "compromise" with the public, probably becoming aware of the progressive abstraction of his works and sometimes decided to "Cue" those who enjoyed his art, suggesting the form via captions or titles.

But, at times, he used additional elements such as symbols and idioms of ancient Paleochristian civilizations (revisited and presented in what he liked to call "the alphabet Pasciuti") or with polychromatic lines, more or less intense, which were intended to revive the work, give light and unify.