"I was born in Warsaw on 19 November 1903. I lived with my parents from 1905 to 1914, i.e. until the outbreak of war, in Czestochowa. Six months before that, I was substituted for the 1st grade of the gymnasium and with the outbreak of war I left with my parents for Poltava. In Poltava, I was accepted into the 1st year of the local government grammar school, where I finished 5th grade. In 1919, when it was no longer possible to stand Bolshevism, my mother and the three of us children were forced to leave for Turkey, where we lived for half a year on the Princes' Islands. At the end of 1920, we returned to Poland. Here, after passing the exams to the 7th grade of the Russian gymnasium in Warsaw, of which I was a student until the summer of this year"

. This was the curriculum vitae presented by Michał Paszyn in 1922 when applying for admission to the School of Fine Arts in Warsaw. There Paszyn honed his artistic talent under the guidance of Tadeusz Breyer and Wojciech Jastrzębowski. On 30 June 1929, he received his diploma, specialising in sculpture. In the same year, he joined the "Forma" Sculpture Cooperative of graduates and professors of sculpture from the Warsaw School of Fine Arts.

After graduating, Paszyn began travelling in France, Italy and Germany to complete his artistic education. In one of the certificates issued by the then director of the Academy of Fine Arts, Władysław Skoczylas, we read:

. "The School's management recommends Mr Michal Pashin as a talented sculptor and asks for any facilitation in his artistic work". Upon his return, between 1931 and 1932, he exhibited his works at the Zachęta Gallery and the Institute of Art Propaganda in Warsaw.

In 1933, the artist returned to Italy, this time to settle there permanently. He trained and perfected his craft in a number of Italian studios, including that of the sculptor Giovanni Ardini, with whom he became acquainted "with the oldest traditions of marble and stone sculpture technique". In 1934, Paszyn, together with Michal Kulak, organised an exhibition of their sketches and drawings entitled 'Bozzetti e studi architettonici', which they had drawn up during a joint trip through Umbria, Tuscany and Lazio. This exhibition was held in the club "Roma" and was held under the patronage of the Polish Ambassador in Rome, Alfred Wysocki.

In 1935, he won first prize in a competition organised by the Adam Mickiewicz Society for his design of a bust of Józef Piłsudski intended for the Hall of the St. Stanislaus Institute (second prize went to Krystyna Dąbrowska, and third to Józef Gosławski). It is worth mentioning that the Artistic Commission included the esteemed sculptor Antoni Madeyski, who had lived in Rome since 1898. Paszyn made the sculpture in marble and several copies in bronze. One of these went to the Consulate General of the Republic of Poland in Rome.

In 1936, Paszyn joined the Association of Visual Artists "Kapitol", which was founded on the initiative of the painter Jan Dzieślewski and was intended to unite all visual artists residing in Italy. The first exhibition organised by this "busy association" took place on 9 May 1936 in the premises of the Palazzo Doria in Rome (paintings were presented by Jan Dzieślewski, Wiktor Mazurski, Bolesław Mikulski, Stefan Bakałowicz and Leon Siemiradzki. Among the sculptors, besides Paszyn, were Józef Gosławski, Antoni Madeyski, Jadwiga Bohdanowicz and Krystyna Dąbrowska). Paszyn exhibited five of his works at the time: portraits of a Negro woman, a Cuban man, a Malay princess and Mrs M. M., as well as a bozzetto (sketch) of Saint Christopher, showcasing his 'crystallised sculptural talent'.

"In the range of Pashin's works on display, works in dark stone (bigio antico) stand out. In the portrait of a Malay princess, the talented author has brought out a certain mysticism of the East, drawing skilfully on the traditions of old Indian art. In the bust of a young black woman, a subject very topical in the Italian terrain today, Pashin showed all his knowledge in the treatment of his favourite dark stone, synthesising the form and not breaking up the architecture with the richness of a very effective hairdo. The portrait of the Cuban is interesting in expression and strong in construction. The composition of St Christopher very interesting. Unpleasantly, the crush in Pashin's collection of good works is the polychrome portrait of Miss M.M, an attempt to relate to the Italian Renaissance. This kind of candy-coated art is clearly not in keeping with his monumental sculpture, at which he should resolutely stop."

In the following years, until the outbreak of war, he created and exhibited his works in many different exhibitions in Italy and abroad. In 1939 he went to Paris for a few months to the studio of Charles Despiau

. He married, met in Rome, the Filipino princess Consuelo, an opera singer with whom he bought the castle Castello di Rotaio Camaiore, near Viareggio. The artist devoted many years of restoration work so that he could finally live there and open his studio, exhibition hall and meeting place with other artists.

In 1946, he joined the Art-Club. In 1952, he became president of the Association of Polish Artists in Italy "Quo Vadis", which was created with the support of the Janina Umiastowska Foundation in Rome and had about fifty members. During its existence, three collective exhibitions were realised in Rome: Mostra Internazionale del Centro delle Arti "Quo Vadis" (8-29.05.1954), Prima Mostra d'Arte Interplanetaria (23.04-8.05.1955) and Mostra Internazionale del Ritratto (5-19.05.1956), as well as one exhibition in Frascati Mostra Internazionale "Dal vivo" (28.09-10.10.1963).

In 1950 he took part in the International Exhibition of Sacred Art at the Vatican. He exhibited a marble sculpture of St Christopher with Child (the model of the sculpture is in the garden of the Pontifical Polish College in Rome), and a bronze sculpture of Our Lady with Child. In 1953, he organised an exhibition of his works (not only sculptural) in the renovated castle of Rotaio. In 1954, he lived to see his solo exhibition at the Villa Strohl-Fern in Rome.

Pashin's most important realisations include the creation of sculptural elements in the Polish cemetery on Monte Cassino (including a 16-metre Virtuti Militari cross with a cemetery candle surrounded by a travertine laurel wreath 6.5m in diameter), as well as sculptural details in the cemetery of Polish soldiers in Bologna, which he created in 1946. He also realised several tombstones at the Cimitero Maggiore in Milan, the Campo Verano in Rome and the cemetery in Constantinople.

The crucifix located in the chapel of the Polish College in Rome is also by him. There is also a sculpture of Saint Christopher made of travertine. In turn, a sculpture of the Risen Christ can be found in the monastery of the Resurrectionist Fathers (also in Rome).

In the 1960s, he created eight reliefs depicting Polish martyrs, patron saints and saints for the Polish chapel of Our Lady of Czestochowa in the Vatican Grottoes.

Ewa Prządka, who after a search in the archives of the J. Z. Umiastowska Roman Foundation produced an extensive text on the artist, wrote as follows:

"Michal Paszyn was a versatile artist. In his religious compositions, he referred to classicism, to Italian medieval art and to Etruscan sculpture. In portraits and full-figure sculptures, he referred to the traditions of a particular region and anthropological 'types', drawing on the experience of ancient sculpture."

The artist died in 1970. However, little is known about his last years of life. His grave is located in the village of Capezzano Pianore, not far from his estate at the time.