he expressed the following:

. . . The title for my sculpture will be called "Nebraskan Gateway." This title came about during an interview with a local reporter who was asking me to describe what I was trying to express with my sculpture. The reporter had suggested that it looked like a huge entrance or gateway and I said yes--it was an enormous gateway to the spirit. The spirit of the land of Nebraska is what I was trying to capture which is expressed in the hills, rivers, and plains. And so, "Nebraskan Gateway" was born. 1

He wrote the following about the Nebraska commission which gave additional insight into his choice of medium and style:

Every professional sculptor dreams about doing some great ambitious sculpture that would outdo all other sculptures in his time as far as originality and size is concerned. Upon being awarded the 1-80 Sculpture commission, I realized that this was one such rare opportunity. I also wanted to use a material that most contemporary sculptors were not using--namely granite. Although I am known to the public as a metal sculptor, my early training was in stone carving. The predominance of welded sculpture on the contemporary art scene made me feel uncomfortable. I felt sculpture needed more breadth and depth, and there was also a certain prejudice amongst sculptors towards stone, and granite in particular, which denoted a sense of "old-fashionedness." The problem for me of course was to make a "contemporary" statement with an old-fashioned material. Then, too, I felt that granite best fulfilled the particular requirements of the situation. Problems of weathering, flooding, vandalism, etc. were best solved by using granite. It also excited me to think that my sculpture would last thousands of years as did Egyptian granite sculpture. Realizing this fact caused in me a desire to create a sculpture that would be considered beautiful and exciting five thousand years from now. . . . The direction of the sculpture was placed in an east-west movement with the major view facing south, thereby picking up strong sunlight during summer months when most travelers would see the work. 2

Padovano expressed regrets concerning certain aspects of the Project.

In my opinion, this entire 1-80 Sculpture Project was the most important contribution to contemporary sculpture thus far in the twentieth century. It certainly should have received more attention and recognition from the established art publications and art magazines than it did. In fact, I believe (to the best of my knowledge) that not one major article was published on this project. . . . It also saddens me when magazines review either the familiar "names," or give critical acclaim to highly questionable work. It is strange that contemporary art historians act as though the I-80 Project never happened, but only works which fit their aesthetic taste. Of course, one of the prices one pays for making a sculpture that goes beyond con-temporary aesthetics, is neglect. I am, however, very proud of my sculpture in Nebraska. . . . It is still a strong visual statement. 3

References:

1. Padovano, Anthony, letter to Art Thompson, November 14, 1975.

2. Padovano, Anthony, letter to Mary Lierly, March 16, 1981.

3. Padovano, Anthony, letter to Mary Lierly, March 16, 1981.