|Hieroglyphics painting as seen in the |
Shepperton Studios' Art Department
a) Early hieroglyphics illustration
Life Cycle Hieroglyphics was painted as a set decoration for the egg silo in the movie Alien.
Ron Cobb started off the idea for his Birth Temple illustration done in the preproduction stage, based on Dan O'Bannon's description in the script, was transformed into something loosely based on Mayan imagery from the Dresden Codex.
b) Using Ron Cobb's illustration as a starting point
Giger found himself working on the pyramid hieroglyphics, which showed the metamorphoses of the aliens from top to bottom, the egg in which lurked the Facehugger, an astronaut approaching the egg, the facehugger jumping onto the face of the astronaut, implementing the seedling and the Chestburster erupting from the chest of the astronaut
One can see that he has incorporated elements based on Ron Cobb's illustration, Giger also used one of his own earlier paintings featured in his Necronomicon book known as Biomechanic Landscape (work 312) as reference to lay the structure out, replacing the goblin head like warheads being constructed in the painting with the egg like alien spores.
|Biomechanical Landscape work (312)|
He also included a biomechanic version of the sky Goddess Nut.
The image of her was borrowed perhaps from such as the book cover for Aleister Crowley's The Equinox of the Gods, but ancient steles and reliefs are to be found of her depicted in a similar way,
An image of a host with a chestburster erupting from the chest could be inspired by depictions of the god Geb who can be seen with an erect male member while beneath the sky goddess Nut in some ancient images.
d) William Onyeabor "Crashes in Love" album cover design.
Bolaji Badejo a Nigerian who has been studying graphics design in central London spent time with Giger and what this ought to have led to is conversation ideally about musical interests.
Perhaps Bolaji would have been someone with an interest in the music of Nigerian Synth-Funk pioneer William Onyeabor who released the film soundtrack album "Crashes In Love" in 1977 for a film of that name, he would have had a copy in England and would have shown it to Giger.
With that , it might have sounded to Giger as a JG Ballard fan as if it ought to have something to do with a JG Ballard novel Crash, but any resulting answer would reveal that there was no connection.
If Bolaji was not the person with an interest in Onyeabor's music, then someone associated with Ernst Fuchs would have shown Giger the album cover.
On seeing this this album cover, Giger would have recognised how this cover art looked inspird by details from Ernst Fuchs' painting "Triumph of the Unicorn" from 1952, and would have looked for ways to incorporate some aspects of it it into artwork of his own with referenced "Triumph of the Unicorn"
See: Album cover of William Onyeabor's "Crashes in Love" (1977) references Ernst Fuch's Triumph Of The Unicorn?
See: William Onyeabor "Crashes in Love" album cover (1977) referenced in Giger's Alien Life Cycle Hieroglyphics (1978)?
Another album that Onyeabor had released, that year, called "Atom Bomb" sounded right up Giger's street with his own interest in a post-apocalyptic worlds leading to his picture Atom Kinder,
The strange song features the singer wanting to express how he feels, the women asking how he feels and the answers that he is going to explode, thy ask if he means he is going to explode,, and he sings that he is going to explode like an atomic bomb, and the women singing repeat the words Atomic bomb.
On the cover, Onyeabor is sitting there singing into several microphones at once as if having all those microphones at once while living in a quiet nowhere place in Nigeria, was a status symbol with his keyboard set up.
In Giger's mind, the album cover transformed into alien eggs and also the Alien Life Cycle hieroglyphs.
William Onyeabor singing into the microphones transformed into a Demon (work 513) that merged with something that ought to have lurked in Hieronymous Bosch's imagination, (Here I am assuming that Giger's mind started to play with names merging them together much as he did with Jethro Tull and William Tell in Mordor IV)
|The cover art for William Onyeabor's album Crashes in Love (1977)|
e) Radio Times imagery
e.i) See: Alien: Giger's Alien Life Cycle Tableau painting references Radio Times May 16th 1968 FA Cup Final cover illustration
|Radio Times May 16th 1968 FA Cup Final cover illustration|
e.ii) See: HR Giger's Alien Hieroglyphs references the Radio Times 10th-16th June 1961 cover?
|Radio Times 10th-16th June 1961 cover photo and illustration|
f) References: Chesley Bonestell's "STONE ARCHITECTURE ON MARS, DEMONSTRATING MARS' TWO-THIRDS LESS GRAVITY THAN EARTH'S."
Curiously the humanoid astronaut like victim would be changed to something that resembled the race of the dead pilot in the derelict ship.
The final tableau would raise further questions about whether the alien pilot's race had always been involved in the life cycle of the alien.
Was this painting supposed to be a celebration of the life cycle for an alien civilisation or a deadly warning for those who were about to enter the birth temple that had become transformed into the deadly egg silo that was somehow part of the derelict ship.
Considering the Radio Times cover illustration, one might think that the reshaped head has become shaped a bit like the head of a golf club.
In the resulting painting was a combination of ancient mythologies, Giger communicates through Herbet M Hurka the writer that the idea the triangle with the eye of God dominates the rest of the depiction, a symbolism that is superficially reminiscent of a creation myth, but in reality documents an extinction of a species
For the design, the picture border Giger used technical set pieces and machine parts of templates for the first time, and in contrast to his previous pictures, the task is to fill the edge of the picture with shapes that have no immediate significance to the picture content, and the stencil prints worked purely ornamentally.
sowohl von der Komposition als auch vom Format her einem Tafelbild
entspricht, soll laut Filmhandlung zu einem Wandrelief ausgearbeitet und
in das Wrack eingesetzt werden. Es beinhaltet die Narration des
Alien-Überfalls auf die exterrestrische Besatzung. Giger verfällt
darauf, Altägyptisches mit Science Fiction zu kombinieren. Von der
Spitze herab dominiert ein Dreieck mit Gottesauge das übrige
Dargestellte, eine Symbolik, die vordergründig an einen Schöpfungsmythos
erinnert, in Wirklichkeit jedoch die Ausrottung einer Spezies
dokumentiert. Formal umgesetzt wird das Tableau, ganz filmgemäß, in
einer Bildergeschichte, in der von oben nach unten die Metamorphosen des
Aliens abulesen sind: a) Das Ei, in dem der Facehugger lauert, b) ein
Astronaut, der sich dem Ei nähert, c) der Facehugger springt dem
Astronauten ins Gesicht und implementiert den Keimling, d) der
Chestburster platzt aus dem Brustkorb des Astronauten. Für die
Gestaltung des Bildrands verwendet Giger zum ersten Mal technische
Versatzstücke und Maschinenteile als Schablonen. Im Unterschied zu
seinen bisherigen Bildern stellt sich die Aufgabe, den Bildrand mit
Formen zu füllen, denen keine unmittelbare Bedeutung für den Bildinhalt
zukommt, so dass die Schablonenabdrücke rein ornamental funktionieren. (Google translation)According
to the film's plot, what corresponds to a panel painting both in terms
of composition and format is to be worked out into a wall relief and
inserted into the wreck. It contains the narration of the alien attack on the exterrestrial occupation. Giger decides to combine ancient Egyptian with science fiction. From
the top, a triangle with the eye of God dominates the rest of the
depicted, a symbolism that is superficially reminiscent of a creation
myth, but in reality documents the extinction of a species. In
terms of film, the tableau is formally implemented in a picture story
in which the metamorphoses of the alien are read from top to bottom: a)
The egg in which the face-hugger lurks, b) An astronaut who approaches
the egg, c) the
face hugger jumps the astronaut in the face and implements the
seedling, d) the chest burst bursts out of the chest of the astronaut. For the design of the picture border, Giger uses technical set pieces and machine parts as templates for the first time. In
contrast to his previous pictures, the task is to fill the edge of the
picture with shapes that have no immediate significance for the picture
content, so that the stencil prints work purely ornamentally. (www.translate.com translation) A panel representing both the composition and the format here, should be elaborated according to the story to a wall relief and inserted into the wreck.It contains the narration of the alien invasion of the extraterrestrial crew. Giger forfeited it to combine Egyptian with science fiction. From the top down dominates a triangle with God eye the rest represented, documented a symbolism, which superficially resembles a creation myth, however, in reality the extinction of a species. Formally implemented the Panel referred to in all film, in a picture story of the metamorphoses of the aliens are abulesen from top to bottom: a) the egg, in which lurks the Facehugger, b) an astronaut approaching the egg, c) the Facehugger jumping the astronauts in the face and implements the seedling, d) The Chestburster bursts from the chest of the astronauts.For the design of the edges of the image, Giger used pieces of technical and machine parts as templates for the first time.The task to fill the screen, where no immediate significance for the content of the image, so that the stencil prints purely ornamental function with forms is in contrast to his previous pictures.( Source: HR Giger. Das Buch: Biografie. Kunst. by Herbert M Hurka)
i) Placement of the Life Cycle Tableau
The painting was to be used instead in a place found in a corridor aboard the derelict instead of the egg silo and then eventually dropped completely from the production, also it was possibly that it looked a little too much like a product of the Egyptian mythology rather than something strictly alien.
j) The theme of Nut the Sky Goddess involved in Giger choice of grave stone
This painting was one that HR Giger liked very much, and when he died, it was actually being considered for his grave adornment, but since this was rejected by the Commune de Gruyères.
Instead a tomb slab designed by Carmen Giger inspired by Egyptian sarcophagi, utilising Giger's designs from other projects, made from Galaxy natural stone from India, with gold mineral inclusions resembling a star-scattered night sky was used to evoke the idea of the Egyptian sky goddess
|Giger's Grave Stone |
(Source: Museum HR Giger on Facebook)
- Dedication Of HR Giger's Memorial Following months of
planning, design, and sculpting work, the artist's closest friends felt
honoured to be able to commemorate the completion of HR Giger's grave
memorial with a small, nocturnal celebration on Saturday, November 19,
The memorial, a tomb slab designed by Carmen Giger and inspired by ancient Egyptian sarcophagi, was sculpted from a Galaxy dimension stone. Notwithstanding the challenges arising from the requirements and restrictions imposed by the Commune de Gruyères, we were determined to complete this monument true to HR Giger's unique spirit. It was to be as if created by his hand.
Carmen Giger: "We selected this particular stone because its golden mineral inclusions resemble a star-scattered night sky; they evoke Nut, the Egyptian goddess of the sky, rendered by Hansruedi in his painting «Hieroglyphics». Said painting, loved so much by him, was our original choice for a grave adornment, but it was rejected by the Commune de Gruyères.
The profile framing the stone was shaped in accordance with the shape of a small, wonderful wooden table designed and built by Hansruedi as a final exam at the Zurich Art and Design College."
We would like to extend our deepest gratitude to all those who helped in realizing this ambitious project, particularly to sculptors Roli Graf and Willy Sager, who worked on the stone itself.
HR Giger's grave site is located Gruyères, Switzerland, a mere few steps from the Museum HR Giger and the Giger Bar. It is open to the public.
Atelier HR Giger
Museum HR Giger (https://www.facebook.com/museumhrgiger/posts/10154823944754324)
- Fertigstellung des Grabmals des Künstlers HR Giger (1940 – 2014)
Nach Monaten der Planung, Gestaltung und Ausarbeitung konnte die
Fertigstellung von HR Gigers Grabmal am Samstag, dem 19. November 2016,
im Kreise der engsten Freunde des Künstlers in einer kleinen,
nächtlichen Feier angemessen gewürdigt werden.
Das Grabmal, eine von Carmen Giger entworfene Grabplatte nach antik-ägyptischem Vorbild, wurde aus einem aus Indien stammenden Galaxy-Naturstein herausgearbeitet. Trotz der eine ganz besondere Herausforderung darstellenden Vorgaben und Einschränkungen von Seiten der Gemeinde Gruyères, war es unsere feste Absicht, dieses Grabmal im Sinne von HR Giger zu verwirklichen, so dass es sich auch um ein Werk aus seiner eigenen Hand handeln könnte.
Carmen Giger: "Wir suchten diesen Stein aus, weil er mit den goldenen Mineralien wie ein sternenübersäter Nachthimmel aussieht, wie die ägyptische Göttin des Nachthimmels, Nut, die Hansruedi im Bild «Hieroglyphics» darstellte. Dieses Bild, welches er so liebte, war ursprünglich unsere erste Wahl, wurde jedoch von der Commune de Gruyères verworfen.
Die Form des Rahmens ist einem kleinen aber wunderbaren Tisch entnommen, den Hansruedi als Abschlussarbeit für die Kunstgewerbeschule Zürich modellierte und schreinerte."
Den Personen, die dieses anspruchsvolle Projekt ermöglichten, gebührt unser tiefster Dank; ganz besonders gilt dies für die Bildhauer Roli Graf und Willy Sager, die den Stein bearbeiteten.
Das Grab von HR Giger befindet sich in Gruyères/FR, nur wenige Schritte vom Museum HR Giger und der Giger Bar entfernt. Es ist öffentlich zugänglich.
Atelier HR Giger
Museum HR Giger
Completion of the tomb of the artist HR Giger (1940 - 2014)After months of planning, design and elaboration, the completion of HR Gigers Tomb on Saturday, November 19, 2016, was appropriately acknowledged in the circle of the artist's closest friends in a small, nocturnal celebration.The tombstone, designed by Carmen Giger according to the ancient Egyptian model, was worked out of a Galaxy natural stone from India. Despite the specific requirements and limitations of the commune of Gruyères, it was our firm intention to realize this monument in the sense of HR Giger so that it could also be a work from his own hand.Carmen Giger: "We looked for this stone because it looks like a star-studded post-giant with the golden minerals, like the Egyptian goddess of the night sky , Nut, which Hansruedi depicted in the picture" Hieroglyphics. "This image, which he so loved, was original Our first choice, but was rejected by the Commune de Gruyères.The form of the frame is taken from a small but wonderful table, which Hansruedi modeled and shouted as final work for the Kunstgewerbeschule in Zurich. "The people who made this challenging project deserve our deepest thanks; This is especially true of the sculptors Roli Graf and Willy Sager, who worked on the stone.The tomb of HR Giger is located in Gruyères / FR, just a few steps from the Giger Museum and the Giger Bar. It is publicly accessible.Workshop HR GigerMuseum HR Giger