Friday, December 11, 2015

H.R. Giger, 1940-2014

~This is on Netflix now. I watched it last night, very much enjoyed, and recommend that it's well worth poring through a few subtitles - about two thirds of it is in German - but one of my favorite parts is in English, that being the analysis/commentary by Stanislov Grof, who sees Giger's work as expressive of the perinatal journey, which makes a lot more sense to me - makes his work relatable to all - than any of the other (more speculative and personal, imo) interpretations offered by others in the flic.
You get to see his home, how he lived and worked. There are great scenes showing him at work, a real treat, daunting and inspiring at once. He was a Master.
The filmmaker, Belinda Sallin, clearly loved Giger and his work and imparts a mood and feeling that fits the subject well.

Enlarge these. It's worth it. This one's from his "Biomechanical Landscape" series.

OK, a little hambone here. A sketch I did shortly after seeing "Alien" back in '79.

I don't know the name of this one, but it's probably something Ridley Scott saw that moved him to approach our man about working on the movie.

Another in the "Alien Monster" series.

Cover fold-out from Danzig's 1992 album "How the Gods Kill." A slightly modified version of "Master and Margarita," shown in it's original form below.

Notice the difference?

"The Spell" He has a whole room in his house dedicated to this one.

Giger's biomechanical take on Arnold Bocklin's "Island of the Dead."



Nicola Dalbenzio said...

I think the trailer showed how this was someones world, not just individual pieces of art. Seems it should be preserved as a whole and experienced that way.

Albert Decker said...

Yeah, his property should be preserved like a shrine. I'd pay to walk through.