"The welded and brazed metal assemblage, Singing Heart, also by Roszak, dates from 1969, nine years after the first preliminary drawing for the piece. As seen in the later watercolor, it was originally intended as a large fountain group. According to Roszak, the sculpture "defies the supremacy of the 'monolith' sculpture (closed form)) and asserts the 'open' form by puncturing the mass full of a variety of 'holes'- meaning that we see not only on the surface of the forms but through it as well." (Theodore Roszak to Floyd Amsden, 2-3-77) Roszak was able to envisage many of these same formal considerations in his earlier drawings, and yet the scale of the fountain suggests a more monumental arrangement. 

[Douglas Hyland, From "Drawings to Sculpture: The Creative Process at White Gallery Spencer Museum University of Kansas.]