Under the name Forma Viva, sculpture symposia were held in the countries of Yugoslavia, usually focusing on work in a specific material, specific to the region (the first in Portoroz in 1961, sculptures in local stone). In the subalpine town of Ravne, the first symposium of metal sculpture - in connection with the metal works there - was held in 1964 on the initiative of Franc Falet. The tradition continues there to this day. Sculptors from many countries have worked there, Italians and Japanese being the most numerous. While Polish artists often participated in such international gatherings in Europe in the 1960s-80s, Ravne's plein-air calendars show only Jarnuszkiewicz's presence.

From around 1964, Jarnuszkiewicz turned to abstract compositions in metal with geometric forms that were both compact and open at the same time, which Mieczysław Porębski described as 'bizarre shining monstrances', emphasising the poetic, not technical-constructivist character of these works. "In works such as the 'Signpost Composition' realised in Elbląg, the composition from Ostrava or, finally, the magnificent aerodynamic, 'living' creation created at the Forma Viva symposium in Ravne, the artist contained such a powerful load of expression, such clarity and purity of form that we find in the best examples of classical monumental sculpture (Waldemar Baraniewski, in cat. "Jerzy Jarnuszkiewicz...", 1994, p. 10). It is worth emphasising that the form realised in Slovenia was the first major realisation of this poetics. The artist developed this concept in Elbląg and then in 1967, when he undertook work in Aalborg and Ostrava. Later, Jarnuszkiewicz began to return to figuration.

Standing among the garages on the edge of a housing estate, the large and solid structure is a place for children to play and is often covered with inscriptions and spray paint. In the immediate vicinity of Jarnuszkiewicz's work is a steel form by Slovenian Dušan Tršar.