Winiarski continued the tradition of geometric abstraction and minimalism from the pre-war period, inspired by Constructivist artist Stażewski. Winiarski was a key representative of indeterminism and fascinated by chance. His works were based on incorporating some element of randomness into an order with a determined set of rules.

In the present work executed in 1972, the ‘area’ or ‘attempt of visual representation of statistical distribution’ is formed randomly, the artist using a table of numbers selected with a throw of a dice to decide which areas to paint. A diagram on the reverse (an outline for the work) reveals the determined set of rules and exemplifies the importance Winiarski placed on the process of production. Essentially, the final effect did not outweigh the process which led to it.

The end product is a number of finely executed, precise black squares painted by chance on a white background. It is visually engaging and a work that not only explores game and probability theory but is free of emotion and subjectivity. Throughout his career he complicated and developed these arrangements of black and white squares, somet.mes s adding randomly selected colour or more dimensions.

Surface 114 (Obszar 114) was exhibited at the Albright-Knox Art Gallery in 1976. The aim of the exhibition was to celebrate Constructivist tradition in Poland and was organized in conjunction with Constructivism in Poland 1923-1948, a larger exhibition featuring over fifty examples of sculpture, painting, photography and graphic design co-organised with the Museum of Modern Art. The works in the exhibition revealed the strong connection the artists had with the Polish Abstract tradition and non-objective art but also showed an engagement with the global contemporary world.