At the intersection of art, speculative fiction, and the darker dreams of the mind lives the work of H.R. Giger,. Even if you don’t know his name, you’ve probably seen his work. Giger contributed the design for the alien in Alien, and it is to Giger’s imagination that the movie owes much of its ability get its hooks deep into the human psyche. And if you think the design of the alien in Alien is intense, wait till you see the rest of his body of work. Here’s more from Lomax Gallery:
Hans Ruedi Giger (1940 – 2014) was a Swiss Surrealist artist whose work had an indelible effect on the popular imagination of the last half century. Resonating far beyond even his iconic work for Ridley’s Scott film Alien, for which he won an Academy Award in 1979, his work had incredible influence on now-historical projections of the future in cinema, video games, animation, popular music and television, as well as across the landscape of contemporary art. His strange surrealist vistas, where bodies and machines meet in violent erotic communion, delineated an existence dominated by nightmarish technology–a vision which continues to exert its dark power on the aesthetics of the new throughout contemporary culture.
Long fascinated with New York as both as an idea and as a place of exhibition, Giger made many visits to New York and the city’s landscape was a continuous source of inspiration to him throughout his career. Evident in his work even from the age of 18, New York’s skyline became the basis for a terrifying mythological world of technical and occult majesty, a negative utopia that expressed itself as a philosophical inverse of the sublime. His iconic “New York City” series, displayed at the Hansen galleries on 57th street in 1980, intermingled figures drawn from his own occult mythos with a claustrophobic futurist steel skyline. The NY paintings, made in airbrush without preparatory sketches, in their extraordinary precision appear at times almost as otherworldly photographs, and are landmarks of technical innovation with a method completely of Giger’s own devising. This body of work was the subject of an artist book published in 1981 by Ugly Publishing Zurich—Giger’s own pseudonymous publishing house—with a preface by Timothy Leary, which is now being republished by KALEIDOSCOPE on the occasion of this exhibition.
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