At the invitation of the shipyard in Aalborg, Polish artists prepared metal constructions in the summer of 1967, working on site. The shipyard assisted technically and financially in the realisation of the sculptures. This intimate sculpture symposium was modelled on Polish initiatives of this kind - a collaboration between heavy industry and artists - mainly the 1st Biennale of Spatial Forms in Elbląg (1965). In addition to the initiator of the project, Marian Bogusz and Jarnuszkiewicz, Bronisław Kierzkowski and Magdalena Więcek took part in the open-air workshop. All the sculptures were erected in a housing estate under construction at the time, near the main thoroughfares, as signs-signals, 'creating - although at a certain distance from each other - a compositional whole, fulfilling the role of a link between architectural groups, becoming a permanent visual accent of a modern city district and at the same time an example of new spatial and urban planning thinking' (Irena Grzesiuk-Olszewska).

From around 1964, Jarnuszkiewicz quite decisively changed the direction of his sculptural explorations, towards abstract compositions made of wire and sheet metal with geometric forms. Mieczysław Porębski described Jarnuszkiewicz's metal constructions from this time as 'bizarre shining monstrances'; the poetic, non-constructivist character of these works was accentuated, free, however, 'from metaphorical references and focused on this multiplication of space, giving it sound, describing changeability' (Waldemar Baraniewski, in cat. "Jerzy Jarnuszkiewicz ... of 1994). His constructions at the symposium in Ravne, Slovenia (1964) and his most famous 'Signpost Composition' from the Elbląg Biennale were already a definite revelation of this new style. The complicated, but at the same time structurally very clear and aesthetically impressive monumental metal composition from Aalborg, in which sheet metal elements and wire stringers supporting rods build up a suggestive, seemingly - sensible whole, almost a living organism, was to be inspired, as Bogusz recalled, by outstretched fishing nets.

In the same year 1967, when he started working in Aalborg, Jarnuszkiewicz realised a similar composition at a sculpture symposium in Ostrava - these constructions are among the last manifestations of that specific geometrising abstraction in his oeuvre, as the artist soon returned to figurative explorations.