A continuation of Suspended Origins — 028.25 was created from the same olive tree as the Suspended Origins artworks and carries exactly the same configuration. While working with this remaining section of the tree, d’Almeida recognised that it could naturally extend the visual language of those works into sculpture.
The sculpture was discovered rather than designed — The original piece was considerably thicker on one side, but its proportions suggested that it could be placed vertically. Instead of cutting away the material to create a predetermined silhouette, d’Almeida allowed the existing form to dictate the final composition.
Strength and fragility in one form — The piece measures approximately 15 cm at its thickest section and gradually becomes thinner towards the top, where it reaches just over 1 cm. This transition gives the work its distinctive tension between visual weight and apparent delicacy.
The natural wood remains the protagonist — The original form of the olive wood, including its bark, was preserved. The two main faces were carefully sanded and treated with mineral oil, while the outer edges were finished with glossy resin, creating a clear contrast between the natural and refined surfaces.
An expansion into sculpture — With this work, d’Almeida deliberately explored sculpture as another dimension of his practice. After developing functional artworks such as tables and decorative wall artworks, this piece allowed the wood to exist simply as a sculptural presence, intended to be placed on a piece of furniture or within a space and appreciated from different viewpoints.
A small detail became part of the work — Around the central area, where d’Almeida placed his signature, the wood presented a section that was naturally less sound. Rather than discarding this portion, he chose to work with the material as it was, preserving the character of the original piece and allowing its natural condition to remain part of the final artwork.
