Rescued Olive Wood
The olive wood used for this table was recovered from timber yards, where pieces of wood were being cut down for use as firewood. D’Almeida selected the material while it was still in its rough state, giving a piece destined for burning a completely different future as an artwork.
A Different Approach to Resin
Unlike several later tables in which the natural wood remains exposed, this piece is completely encapsulated in resin. The solution protects the wood by isolating it from direct contact with the surrounding air and became an important early exploration of resin as a complete surface finish.
Black, Transparency and Light
The resin is not entirely black. Transparent sections containing glitter introduce light and reflection into the composition, creating a subtle contrast with the deeper black areas. This combination gives the otherwise simple circular table a more unexpected and almost magical character.
A Table That Became a Test Ground
The circular form provided d’Almeida with an opportunity to explore techniques associated with creating precise round forms. The experience became relevant to his subsequent work, including the round wall clock that followed.
The Only Round Table
The circular form was specifically requested for the piece, but it also became part of its identity within the collection. Piece 003.22 remains the only round table in the collection, and the work was conceived as a singular piece rather than something intended for repetition.
