Death metal, ritual murder, and teenage suicide are mere starting points for Banks Violette; his gothic installations construct operatic analyses of the dark side of American culture. In works such as Black Hole, Violette aptly portrays this phenomenon of excess. Heavy-metal aesthetics become a mirror of youth culture anxiety, an adopted language compensating and empowering sensations of immense sorrow and despair. Citing examples where musical lyrics become instigating factors to real-life violence, Violette refers to an over-identification with fiction where artistic expression exceeds critical confinement, and fantasy and reality are blurred. Black Hole lingers on this edge of transition: its aestheticised destruction offers both horrific contemplation and potential for misuse.

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