In 1945, she moved to a coastal town Sopot to study painting at The State School of Visual Arts, where she met her future husband, Marian Wnuk.

In 1949, Więcek moved to Warsaw to study sculpture at The Academy of Fine Arts under professors Marian Wnuk and Franciszek Strynkiewicz.

In the early 1950s, Więcek began her life time engagement with artist residences at steel mills, stone quarries and studio visits; and, collaborations with various architects and designers.

The new, expressive style was presented in her award-winning work The Mother, showing a naked, kneeling woman with a child by her knees and her right arm raised in a gesture of protest.

In 1958, an exhibition featuring works by Magdalena Więcek, Stefan Gierowski and Marian Bogusz (with whom the artist would later collaborate on multiple occasions) took place at the Krzywe Koło Gallery.

By the end of the 1950s, the artist experimented with concrete and created organic forms, which were abstract but also reminiscent of deformed body parts or prehistoric, primitive obelisks.

In 1963, Więcek was invited by Karl Prant to a symposium in St. Margarethen, Austria, for which she created a large-scale sculpture made of almost completely rough blocks of stone.

The dynamic form of the sculpture created an impression as if disconnected elements were revolving in the air around the construction, attracted by its centrifugal force.

For the next edition, Więcek prepared Upward Flight – Spatial Composition, in which the geometry of a flying ball was studied, with two spherical forms hanged on metal scaffolding.

The sculptures included in this cycle were all close to organic, abstract forms, featuring mixes of colored marble and granite, ovoid shapes, smooth and haptic surfaces.