Domenico De Lucia - Forma Residua






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Domenico De Lucia’s Forma Residua is a contemporary sculpture (2025) in terracotta and iron, with an authenticity certificate, measuring 30 cm wide by 35 cm high by 15 cm deep, weighing 4 kg, in excellent condition and made in Italy with bronze, silver and gold tones.
Description from the seller
Forma Residua does not occur after the trauma, but within its process. The sculpture does not reproduce the event, but rather the transformation that it produces in thought as it continues to act. The thread emerges from the head as a line of active tension: it does not represent the wound, it exerts it. Its presence introduces a principle of continuous pressure, a force that does not explode nor resolve, but reorganizes itself in space through an autonomous form, capable of supporting its own visual and conceptual weight. The material amplifies the friction between vulnerability and resilience. In this gap, the wounded thought does not reveal itself as a collapse, but as a system that recomposes itself, that holds back, that structures. The form that results from it is neither a conclusion nor a scar, but the temporary outcome of an unstable balance. Forma Residua thus assumes the trauma not as static permanence, but as an operative condition: a process that continues to produce structures, tensions and forms, making visible the way thought, even when damaged, remains active.
Forma Residua does not occur after the trauma, but within its process. The sculpture does not reproduce the event, but rather the transformation that it produces in thought as it continues to act. The thread emerges from the head as a line of active tension: it does not represent the wound, it exerts it. Its presence introduces a principle of continuous pressure, a force that does not explode nor resolve, but reorganizes itself in space through an autonomous form, capable of supporting its own visual and conceptual weight. The material amplifies the friction between vulnerability and resilience. In this gap, the wounded thought does not reveal itself as a collapse, but as a system that recomposes itself, that holds back, that structures. The form that results from it is neither a conclusion nor a scar, but the temporary outcome of an unstable balance. Forma Residua thus assumes the trauma not as static permanence, but as an operative condition: a process that continues to produce structures, tensions and forms, making visible the way thought, even when damaged, remains active.
