Executed in 1987, the present work is part of the Geometry under Tension series.

Throughout his artistic career, Winiarski strove to transgress the function and understanding of the traditional definition of an artwork. Having initially set out to create art devoid of human emotion and based on mathematics and chance, in the early 1970s Winarski changed tack and acknowledged that emotion was a vital component of artistic creation and perception. In 1972 he adapted one of the rooms in the Contemporary Gallery in Warsaw to a game parlour, as an event accompanying an exhibition. The viewers joined the "game" proposed by the artist. The results of the game, in line with the prior determined rules, were black and white or coloured visual effects. This event was the starting point for a range of experiments and exhibitions at home and abroad, where the artist tried to turn the viewer into a true partner and co-creator of a piece of art. The concept of interaction with the audience led to the return, from 1976 on, to simplest combinations of programme and fortune in Winiarski’s oeuvre and to the creation of paintings from the Games series.

As t.mes progressed Winiarski came to the conclusion that the possibilities of further development of programming systems were exhausted, and re-evaluated his artistic beliefs, turning to creation based on intuition, emotions and experiences, creating works that were open to associative interpretations. In an interview in 1985 he explained: ‘Over the past years I rejected an emotional response to my own art by principle. The action programme was not subject to any emotional evaluation. So the change consists in emotion being granted equal rights at the moment. There is a game permitting expression to participate in the artistic practice.’