Born in New York, Salvatore Scarpitta spent most of his life studying and working in California or Italy. In 1987 he had the opportunity to come to the University of Houston as a Visiting Distinguished Professor of Sculpture. Set up in a white painted studio with no windows but plenty of ceiling height, Scarpitta spent his time working on Manhole Uprising Sled and teaching. Forcing him to intently focus on his piece, the only noise his studio space had was the occasional visit from students. Scarpitta later described the students at UH as some of the brightest kids he had ever taught. They were the reason he fell in love with Houston. He describes the work he completed while here Manhole Uprising Sled as an interchangeable painting and sculpture. Scarpitta explained that he had never made a big distinction between sculptures and paintings, so this work is both. Manhole signifies the man’s predicament and relates to human’s universal attempts to climb or achieve. The slots in the canvas could represent handholes. “Uprising” conveys two ideas. One, humans ascending to higher accomplishments, and two, Scarpitta’s own personal elation at being there. “Sleds” are the things that slide along the walls. A painting under certain concepts is a vehicle to slide along walls.