Biomechanics

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R. Giger’s works – his style is often described as “biomechanical”, and one of the albums of the Swiss author was titled Biomechanics. Capcom's Resident Evil series must surely have looked to Giger for its mutated human enemies, often loaded with strange sexual imagery.

The xenomorph is only seen in terrifying glimpses, accentuating its initial power to shock and seduce. 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. The metaphor of the body as a mechanism found its use in education, among others – for example, this illustration by the pioneer of infographics, Fritz Kahn, titled Der Mensch Als Industrielpalast (meaning Man As Industrial Palace ), was published in 1926.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.

The 12th century parish church in Paisley, Scotland, had undergone renovations in the 1990s, in which destroyed gargoyles were replaced by new sculptures. There are also some hilarious smaller works featuring mutants, often getting up to mischief, which demonstrate a playful side from his younger days. Giger managed to capture a certain spirit of the twentieth century and crystallise particular (anti)aesthetic propositions. R.Giger conducts you through his diverse alien landscapes, inhabited by the spectral offspring of his vivid dreams and darkest nightmares. 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 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. R. Giger Necronomicon – including Satan I, a painting depicting the titular Satan using the arms of the crucified Christ as a slingshot. R. Giger’s art point towards an interesting idea: everyone brought up in the Christian culture is used to depictions of a dying man, and one of the most important symbols of the western civilisation, the cross, is, in fact, a torture device.