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Vote: | Akron decided when he chose an image that we should talk about each card, and then we had a telephone call for each one, we talked for about an hour or so for each specific image and I told him what I knew about it, what had influenced me or what I had felt or what could be a kind of psychogram in the image or whatever. |
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Vote: | I couldn't see the rest of the painting when I worked on the upper part - it was not stretched out - the surface was not rolled out so I had only the surface I was working on in my view. Maybe that has something to do with it - it makes the whole thing have less fixed perspective. |
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Vote: | I don't know, if somebody doesn't tell me how would I know? |
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Vote: | I have to think how that worked. I think Akron went to Taschen, because he knew about my HR Giger ARh+ and he knew that had worked well and he was looking for a publisher, and he said we should ask Taschen because the Baphomet Tarot didn't work at all because the early publisher was uncomfortable with our Tarot. |
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Vote: | I like to combine human beings, creatures and biomechanics. And I love to work with bones - they are elemental and function and, after all, are part of human beings. I have many bones in my home in Zurich, and I study them and use them as models. |
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Vote: | If people want to interpret my work as warnings about too much overpopulation, disease and mechanization in the future, then that is up to them. |
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Vote: | It's also not so easy, you know in the beginning I worked on these paintings just on a roll of paper which I fixed with two nails on the wall and I spread out just the top so I could work on it. I had to sit to work with the airbrush so I set my elbows on my knees, so they wouldn't move. |
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Vote: | No, I didn't work it out upside down, I never turned it around. |
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Vote: | Of the Fool, Pump Excursion - yeah I did four versions of it, and they were some of the latest things I did. After that I stopped painting - or nearly stopped - I had to finish some things but not much. I think the last painting I did was the work on Species. |
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Vote: | Some people say my work is often depressing and pessimistic, with the emphasis on death, blood, overcrowding, strange beings and so on, but I don't really think it is. |
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Vote: | Some people would say my paintings show a future world and maybe they do, but I paint from reality. I put several things and ideas together, and perhaps, when I have finished, it could show the future. |
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Vote: | The blade, and the round thing - they are the coins or whatever, they are all there. That's true, they are all there, I didn't realize that. |
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Vote: | There is hope and a kind of beauty in there somewhere, if you look for it. |
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Vote: | Well that was a thick book, about 500 pages. And it's much more worked out than the translations in the small booklet the other company [the publisher before Taschen - A. G. Muller] produced for the English-speaking market. |
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Vote: | Yeah - some objects are of course existing, like the gun, I have a pump shotgun like the one in Pump Excursion. |
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Vote: | Yes, I was invited to a party and there were some very nice people there, and the hosts wanted to get in contact with me and Sergius Golowin, the writer, and there was also among this small group of people, "artists" if you like - Akron - a very enigmatic figure. |
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Vote: | You know I was curious - I was interested in all kinds of mystery or deeper meanings in the paintings because I myself have not analyzed why they have turned out like this or like that. |
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Vote: | You know, I did that back when I was doing my Spell paintings, 1973-'76 and I was fascinated by this Baphomet image, and so this was long before I met Akron, who I've known for about twelve years or so. |
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Vote: | You know, I said I have this problem that I need to more carefully read Akron's text because it's too much, too much fantasy, and so I am busy with other stuff - it's funny, it's nice to hear that someone is studying that carefully and now I know a little bit more about that. |
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Vote: | You know, it was just another presentation of my work, and a funny one, because the cards are quite different from the normal Tarot deck, no? |
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Biography
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Hans Ruedi Giger (pronounced: GEE-ger) (born at Chur, Grisons canton, February 5, 1940) is a Swiss painter best known for his design work on the film Alien. Giger's Alien design, inspired by his painting "Necronom V", earned him an Oscar in 1980. His fourth published book of paintings, titled Necronomicon (followed by Necronomicon II in 1985), continued his rise to international prominence, as did the frequent appearance of his art in the magazine Omni. Giger is also well known for artwork on a number of popular records, including Emerson Lake and Palmer's Brain Salad Surgery and Debbie Harry's KooKoo. His artwork for the Dead Kennedys' album Frankenchrist, called Penis Landscape, or 'work 219: Landscape XX', was at the center of an obscenity lawsuit against Jello Biafra.
For most of his career, Giger has worked predominantly in airbrush, creating strange monochromatic canvasses depicting surreal, nightmarish landscapes. His most distinctive stylistic innovation is that of biomechanics, a representation of human bodies and machines in a cold, interconnected relationship. His paintings often display fetishistic sexual imagery and are considered disturbing by some. Some of his paintings also feature Satanic imagery, though Giger himself is not known to be a Satanist. He is largely inspired by Salvador Dalí and was a personal friend of Timothy Leary.
He has also created furniture designs, particularly the Harkonnen Capo Chair for an unproduced movie version of the novel Dune that was originally slated to be directed by Alejandro Jodorowski (many years later David Lynch directed the film, using none of Giger's designs). Giger has also applied his biomechanical style to interior design, and several "Giger Bars" sprung up in Tokyo, New York, and his native Switzerland, although the foreign bars have since closed. His art has greatly influenced tattooists and fetishists worldwide.
H. R. Giger has produced concept art for many things, including the movies Alien and Species. He has also done work for recording artists Celtic Frost, Magma, Emerson Lake and Palmer, Deborah Harry (from Blondie), hide, Danzig, and Atrocity. Korn's Jonathan Davis commissioned Giger to sculpt his microphone stand, and Carcass used Life Support 1993 for the cover of their 1994 album, Heartwork. The Giger Bars in Switzerland's Chur and Gruyères, and the Museum H. R. Giger in Gruyères, canton of Fribourg, Switzerland, all have art by Giger himself. Additionally, he was instrumental in creating the art for the game Dark Seed and its sequel, both adventure games for the PC.
Giger is often referenced in pop culture, and especially in works of the science fiction and cyberpunk genres. Novelist William Gibson (who wrote the original script for Alien³) seems particularly fascinated, presenting in Virtual Light a minor character, Lowell, with New York XXIV tattooed across his back. As well, Yamazaki, a secondary character in Idoru specifically describes the buildings of nanotech Japan as Giger-esque.
External links *Official website
*Official U.S. site.
*MUSEUM HR GIGER
*Therion - H.R. Giger Gallery
*Giger's article on being commissioned to sculpt Jonathan Davis' microphone stand.
...(more on Wikipedia)
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This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "H. R. Giger".
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