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Biomechanics

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We have to take into account, however, that the pop-culture which made us familiar with ugliness (and may have even bored us with it) owes its openness to anti-aesthetics in part to Giger. The Polish reflection on literature and art has cultivated the term turpism (from Latin “turpis” – “ugly”) which describes the exploration of the disgusting, revolting, and shocking. There are, of course, the many tie-ins with the Alien movies, for which he provided one of the most provocative monster designs in the history of cinema. Front and rear pastedowns illustrated, no free endpapers, publisher's printing label to front pastedown, publisher's label to rear pastedown.

The influence was surely there too in Valve's atmospheric Half-Life adventures, with their repulsively transmogrified humanoid creatures, and face hugger-like Head Crabs. Good+/Quite Good 4th printing 1994 Morpheus hardback, unclipped DJ, profusely illustrated high quality edition. The anatomy of the creature depicted in Necronom IV was too incredible to become the movie’s antagonist, but it served as the direct first draft of the famous Xenomorph.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. 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.

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. 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.He said machines were sexy, but not in the way that car manufacturers wanted us to think; and he said monsters were really about sex.

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