Several shared interests by Diego Delas and Julius Heinemann are at the core of their project A Warmth from Within. One of these is an understanding of architecture concerned with notions of the self; that is, not only a space of functional habitation but also a site for dwelling and to articulate a symbolic situation. Under this light, it is not surprising that both share an interest on modern architects such as Le Corbusier and Luis Barragán who developed a practice concerned with constructing spatial scenes that motivate reflection, introspection, imagination. In order to do this, the two architects relied heavily on a plastic dimension in order to construct buildings as perceptual experiences able to elicit different kinds of thoughts and associations. It is not coincidence that the Swiss and Mexican architect built spaces for recreation or reverie (museums, parks, gardens) but also for isolated reflection and meditation (churches, convents, monasteries).

A Warmth from Within, in fact, could be seen as such an exercise, in which Delas and Heinemann build together a kind of monk's cell that, however, is highly profane. Heinemann has built a soft interior architecture within the gallery space using mesh fabric that has been painted with a suggestive plastic solution. The transparency of the material is essential since it allows visual association with the physical architecture of the gallery space and the rest of the works on display. Also, it creates an ephemeral overlap of painting and architecture that change with the spectator´s movement. Delas, for his part, has built several vertical panels with a concrete surface, creating tension with Heinemann's large-scale mesh canvas. He has inscribed these structures with designs reminiscent of symbols, or their fragments, capable of activating subjective memory. Through these spatial interventions, the artists set the stage for a symbolic interior within the white, non-referential walls of the gallery.

Within this interior, the artists have displayed an array of objects and works. Together, they have designed pieces of furniture that are basic in the structure of a minimum dwelling, like a table or a couple of stools. A plastic dimension overrides these objects, problematizing their functional nature. One stool, for example, turns into a sculptural totem while the table is transformed into a canvas. Heinemann and Delas have also produced collaboratively several boxes articulated through the juxtaposition of objects, images, and works on paper, which could recall the work of Joseph Cornell. These pieces seem to reconcile the pictorial, sculptural and spatial concerns of the two artists. They were conceived by the artists as altars or shelves, as places of identification of an individual with a place, of collections or reflections. Finally, there are several works on paper executed, individually, by Delas and Heinemann. These pieces are located at several points of the exhibition: on the vertical panels, the table, and the walls of the gallery. Heinemann´s are watercolors and Delas´s oil-based ink mono prints (spoon hand pressed) are endowed with designs that evoke exlibris. These works on paper seem to condense the entire formulation of their proposal as it is displayed in the gallery as spatial installation. They could be seen as clues for understanding the articulation of this symbolic interior, a sort of cosmos in itself.