Selected works

Area

Area. Penetration of industrial space with the probability of the appearance of the chaos dependent of the movement of the spectator.
1970

Penetration of real space of equal probability to black and white color appearance. Mutable lot – dice.
1972

Area 53. Statistical surface in this dimension.
1971

Area 130. Penetration of the illusory space with the point of convergence in the centre of the area. Mutable lot – dice.
1973

Area 177. Penetration of real space with various probability of black color appearance. Mutable lot – table of random numbers and dice.
1973

Statistical area 199 with changeable position of axis of symmetry. Mutable lot – dice.
1974

Area 190. Penetration of a real space with 30×30 cm elements. Mutable lot – dice.
1974

Surface 101. Experiment to divide the area by lot into four surfaces. Mutable lot – casting a die.
1972

Area 169. Penetration of illusory space. Mutable lot – dice.
1973

Area 135. Penetration of illusory space with the vanishing point in the centre of area. Mutable lot – dice.
1973

The Idea

When I say that I use black and white, the situation is so explicit and so comparable with the words “yes and no”, “plus and minus”, “good and evil” that no one will ask about the peculiar qualities of my black and my white. In certain coloristic systems, black and white are outside the field of colours. They are non-colours. The code was so simple that each of my paintings could be replaced by an elementary numerical notation of zeros and ones, which could easily be translated back into the black-and-white visual form. The need for a precise code prompted me to adhere to a square, the geometrical figure which does not provoke questions about direction (like a triangle), or the surrounding area (like a circle). It leaves no doubt.

Ryszard Winiarski, 1985

Games, 1976

Game no. 1

A game of chance for 2

Contains: a board, 24 red and 24 black counters, 2 dice (one with digits 1, 2, 3, 4, 5, 6, the other with numbers 0, 6, 12, 18, 24, 30)

Game instruction:
Players choose the colour of the counters. Coin flipping or a similar activity determines who begins. After casting the dice, the first player adds up the received digits and numbers. For example: 5 + 24 = 29, so he puts the counter in his colour on field 29. The other player makes an analogous move, etc. If the resulting field is already occupied, the casting player loses his turn. The first player to create a full line horizontally, vertically or diagonally wins. If none of the players manages to do that, the one who gets more fields on the board (more than 18) wins.

Game no. 2

A game of chance for 2 or 3

Contains: 3 boards, 36 black counters, 2 dice (one with digits 1, 2, 3, 4, 5, 6, and the other with numbers 0, 6, 12, 18, 24, 30)

Game instruction:
Each player chooses a board. A neutral person or one of the players casts the dice and sums up the received digits and numbers, for example: 3+21=24. The player who has the board containing the figure places a counter there. The player with a full board wins.

Game no. 5

A strategic game for 2

Contains: a board, 44 black and 42 red counters

Game instruction:
Coin flipping or a similar activity determines who begins. The first player selects the colour of the counters and puts one on any field. The other player makes an analogous move with the counter of the other colour. The condition is that counters of the same colour may be in contact only along their sides while counters of different colours may touch only with their corners. The player who cannot place his counter on the board because he has already used all possibilities loses.

Game no. 7

A game of chance for 2 or more

Contains: a board, 100 black counters, a roulette

Game instruction:
Each player takes the same number of counters (e.g. 20 or 30). Coin flipping or a similar activity determines who begins. Each of the players spins the roulette wheel twice to get 2 digits, e.g. 7 and 8, which in this case gives 78, and puts a counter on the indicated field. When the field on the board is occupied, the player loses his turn. The first player to place all his counters on the board wins.

The Idea

In 1976, after my exhibition titled “Games” in the Netherlands, I came to the conclusion that an attempt at recording the course of a game based on chance or logic graphically on a series of boards may bring interesting results. What seems to be essential is the fact that it is not purposive shaping of the appearance but the choice of the method of conduct, rules of the game that bring such or another visual result, used later as a painting with a specific appearance. The visual effects of games of similar rules proved to be surprisingly diversified.

Ryszard Winiarski, 1977

Black square of flying geometry

The Idea

There are moments in the history when the systemising and exploring role of art appears important and expression is pushed to the background. But there are others, when emotions rule indivisibly. At the moment, a swirl of threatening clouds is coming in anticipation of thunder and lightning. A growing wave of emotions is going through the world of art. Wild painting. What can be done in such weather by artists sailing aboard a boat with a ringing name of “Geometry”? They can sulk and disembark, they can lower sail, reach for oars and continue the journey slowly, but they might as well put up a struggle and look for adventure, travelling under full sail. And the latter decision seems most reasonable. Geometry has been able to carry emotions and symbols many times. It will carry them again. Geometry under tension.

Ryszard Winiarski, 1984