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Biomechanics

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Through Alien, he sent designers and gamers scuttling to the library to look up Kleinian and Lacanian preoedipal mothers and Barbara Creed's monstrous feminine. R. Giger Necronomicon were to be remembered by only one piece of art, it would absolutely have to be Necronom IV. The airbrush stuff is arresting to one seeing Giger's art for the first time, but it pales a little after one sees his 70s airbrush murals.

R. Giger, Oscar-winning designer of the hit movie Alien and widely considered the world’s finest dark fantasy artist, redefined edgy, contemporary art starting in the 1980s with his biomorphic creatures inhabiting gorgeously grim dystopias. These circumstances clearly show the intellectual and social atmosphere surrounding the creation of H. Arriving on PC and Amiga in 1992, the original title is set in a mansion somehow connected to a parallel universe rendered in typical Giger-esque style: hive-like environments, psychosexual horror and visual references to the Kleinian Archaic Mother concept. Giger could likely be named a turpist – his art celebrates something most of us would rather not think about. The long, phallic head and a tail ending with a strange object – maybe a human skull, maybe the creature’s larva – grab the viewer’s attention.

Giger’s popular art book, Necronominicon , caught the eye of director Ridley Scott who was looking for a creature for his soon to be produced film Alien. Importantly, Giger provided a connection for video game artists between the fantastical horror of HP Lovecraft and the science fiction visions of authors such as Arthur C Clarke and Robert Heinlein, and illustrators Chris Foss and Ralph McQuarrie. He is not, of course, unique in that; Giger was one creator in a long line of artists exploring the dark and unnerving. Giger’s fascination with all things surreal and macabre began at a young age and this led to an interest in expressing himself through visual arts. Giger Necronomicon and all of his work are sometimes interpreted as therapeutic in a way – a means of dealing with both individual and collective fears; Giger’s first paintings were created during art therapy sessions, after all.

Satanistic inspirations, deformed bodies, the free union of eroticism and decay – if the pop-culture mainstream did not numb us to it, its sub-genres definitely have: from the metal subculture, through cyberpunk, ending at body horror. His art visualised the human-machine interfacing of cyberpunk, and it saw the crossover as one of sexual rather than intellectual-technological coupling. The painter stated that the experience which had had a powerful effect on him was the trauma of his own difficult birth. His works inspired not only Alien, but also, to a larger or lesser extent, metal music, Hellraiser, the video-game Doom, cyberpunk, or Matrix – and those are only the most obvious examples.While the drawings were intriguing and fascinating, and the various articles interesting, the rest of the written information was extremely poorly written. R. Giger found particularly interesting was reproduction – shown from his perspective as a mechanical replication or an act of violence, rather than “the miracle of birth”. Although there is an emphasis on his later work for most of the book, there are some wonderful pieces from his earlier years that are primarily created with ink and traditional techniques, as opposed to his later airbrush work.

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