A sculptor talks about his work

''FAST Aqueduct'' reflects the flowing, rhythmic, and directional qualities of water moving through an aqueduct. Its function is not to carry water as a commodity; rather, to carry the idea of water. The sculpture turns visibly to ancient Rome for its model. Yet, despite the influence of the old aqueducts, my study is not so much historical or romantic as it is the subsequent and inevitable result of the nature of these aqueducts. Their simple shapes and singular function are expressed in the simplicity and directness of the sculpture, but of paramount importance is the new idea of movement, or the form of movement, that the simple shapes of the Roman aqueducts are best able to convey. What can show us the importance of water to the old aqueducts, when water has long been absent, and the forms are decaying? Do the ravaged Roman ruins give a clear picture of their thousand-odd years of service, and the transporting of the equivalent of an ocean? Today we see only the fragmented remains of the aqueducts: incomplete sections of pier and arch, stripped of their function, laid bare in borough and field. They are uncomfortable visitors in the modern world. To emphasize their stronger qualities, regardless of time and decay, is the design of ''Fast Aqueduct.'' The moving water is gone, but, as my sculpture attests, its centuries of motion have not been overlooked nor forgotten - the flowing water has affected the form.

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