Doom is a light and sound work that takes the form of a shrine with ten replicas of a motorcycle helmet, one polyhedron, and two monoliths. These sculptural elements are all arranged directly on the floor. The setting brings to mind a celebration or a mysterious ritual in homage to death metal culture emerged in the early 1970s and revisited in the electronic age.
Cast in earthenware and glazed in black, the helmets were molded from an actual motorcycle helmet. Their form is skull-like. Lamps hidden within them form an interactive lighting system. The two monoliths contain speakers and the polyhedron holds a subwoofer. These three shapes constitute a sound system. They are made of a lacquered black material. Plunged in darkness, the exhibition space has been painted matte black to allow the sculptural elements to stand out from the walls and floor by virtue of their high-gloss finish. The sound consists of a selection of heavy metal pieces remixed in the doom metal style, a very slow, repetitive music after which this project is named. The tracks are played at a decelerated speed to create an impression of time stretched out, nearly suspended. The brightness of the light emitted from within the helmets varies and is synchronized with the sound. A play of shadows and shards of light are cast on the three-dimensional shapes and their surroundings.
The installation Doom takes its references to geometry and mathematics from the tradition of vanitas and esoteric painting. The polyhedron comes from Dürer’s famous engraving Melencolia I. Fabricating the helmets in ceramic strips them of all protective function and transforms them into fragile, fatal objects. Used since ancient times to determine harmonious spatial proportions, here the golden number has been displaced to the temporal domain in order to slow down the cadence of music.