SUSPENDED MEMORY
Memoria Suspendida is constructed from material that has already had another life.
The pine wood, recovered from an old architectural structure, retains within it a temporal charge that is not hidden, but rather reconfigured into a new presence.
The ellipsoidal volume, suspended and vertical, does not refer to a past function, but rather to a state of transition: between what was and what now asserts itself as an autonomous form. Both the sculpture and the pedestal are made of the same material, reinforcing a physical and conceptual continuity where past and present coexist without hierarchy.
The application of the Yakisugi technique fixes the mark of fire as a trace of transformation, revealing the grain and density of the wood. The transparent resin and final polish do not erase this memory, but rather stabilize it, creating a balance between the material weight of time and the precision of the sculptural presence.
At two meters tall, the piece relates directly to the human scale, asserting a restrained verticality, closer to permanence than to gesture. The work does not illustrate memory: it sustains it, suspended in a body that dialogues with space through sobriety and strength.
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The series developed by Álvaro Quintana and Jesús de la Fuente for DA PROJECT stems from a shared creative process, in which sculpture is understood as a field of tension between gesture, space, and matter.
The research draws on diverse influences: the formal intensity of expressionism, the radicalism of Franz Kline's brushstrokes, the chromatic depth of Rothko, and the spatial dimension of artists such as Isamu Noguchi and Barnett Newman.
The work does not seek representation, but presence: structures that assert themselves in space with strength, silence, and balance.
In these pieces, geometry coexists with expressive impulse. Each sculpture preserves the traces of the process, the restrained gesture, and the precise decision. The reference to tradition—from Velázquez and El Greco to Mondrian—does not appear as a quotation, but rather as a deep understanding of the weight of space, verticality, and composition.
Produced by DA PROJECT, the series reflects a way of understanding sculptural editing as part of the creative act itself: a collaboration in which thought, technique, and form advance inseparably.
The works are presented as autonomous entities, designed to interact with contemporary spaces and be integrated into collections that value formal intensity, conceptual solidity, and the permanence of sculpture.
Álvaro Quintana / Jesús de la Fuente
DELAFUENTEART PROJECT
DELAFUENTE / QUINTANA
Álvaro Quintana Escobar (1991), an artist trained in Fine Arts with a master's degree in Heritage Conservation, and Jesús de la Fuente (1972), an artist and sculpture producer, develop a joint practice that lies at the intersection between sculptural creation, material research, and technical knowledge.
Within the framework of DELAFUENTEART, they combine the development of their own work and sculptural production with the exploration of processes, materials, and formal solutions applied to contemporary sculpture, combining artistic practice and production at an international level.
