"Seemingly supported by a light, openwork base of taut, diagonally passing strings. At the top, the circularly curved sheet metal strands expand widely like a crown of trees or waves pulsating with a changing rhythm. Here, the organic element comes into conflict with the constructivist structure. The colours used do not soften, but intensify the emotional significance of this complicated spatial form," is how Bożena Kowalska described the then famous work by the Polish artist realised in Denmark in 1969. From afar, this complex construction of repeatedly intertwining ribbons took on shapes that the artist himself associated with the form of a flower, although it was intended as a creation of industrial origin and appearance.

Essentially a painter, Bogusz was also involved in interior design and exhibition design; from the mid-1960s onwards, he conducted increasingly daring spatial experiments, including making paintings-asamblages using wood or wire. At the invitation of a shipyard in Aalborg, one of Denmark's largest industrial centres, 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 (which lasted from 11 September to 24 November) was modelled on Polish initiatives of this kind - collaborations between heavy industry and artists - mainly the 1st Biennale of Spatial Forms in Elbląg, co-authored by Bogusz in 1965. In addition to him, the initiator of the collaboration with the Danes, the plein-air in Aalborg was attended by Jerzy Jarnuszkiewicz, Bronisław Kierzkowski and Magdalena Więcek, as well as four well-known Danish sculptors. Unlike the traditional sculptures of the latter, the Poles designed their forms starting from an analysis of the context of their surroundings: blocks of flats and schools, traffic routes, greenery. They chose the locations for the sculptures together during walks around the city. Throughout the symposium, Bogusz kept close notes of the proceedings, and explained the location decisions in them. These were published in the catalogue of an exhibition at Warsaw's Zachęta Gallery, which presented the results of the work in Aalborg in May 1968. The photographs reproduced there show the original, still almost completely empty spaces around the sculptures.

The first stage of the work was for the artists to prepare mock-ups in paper, followed by models in metal on a scale of 1:5. The realisation of the actual objects was carried out in collaboration with the shipyard workers and equipment.

All the sculptures were erected in a housing estate that was only then being built, close to schools, near 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).

The experiments in Elbląg and Aalborg were to prepare the erection of spatial forms designed by contemporary artists in Polish cities: one of the few realisations of this idea was a group of sculptures in metal on Kasprzaka Street in Warsaw. Bogusz, meanwhile, developed his own formal explorations in a landscape context a few years later in an even larger metal construction erected on the campus of the technical university in Erlangen in Franconia. In turn, the artist developed his contacts with Denmark by collaborating on an exhibition of contemporary Danish art at Warsaw's Zachęta Gallery.

Bogusz's structure is currently the least visible of the Poles' works in Aalborg: the vegetation overgrowing the fence covers the view of its entire lower part. It is, however, well preserved.