Superman Lives: Sylvain Despretz' Skullship concept art for the unmade Superman Lives
Bernd & Hilla Becher: Hochöfen (Blast Furnaces).
Bernd & Hilla Becher: Hochöfen (Blast Furnaces).
|Sylvain Despretz' Skullship (complete image but dark)|
a) Sylvain Despretz says that he was "Trying to emulate the works of a photographer who shot pictures of gas factories" (Bernd & Hilla Becher: Hochöfen (Blast Furnaces). I had such a book with me at the time, you see" (Source: Jean Giraud Moebius Facebook page. (https://www.facebook.com/photo.php?fbid=2015148242118482&set=p.2015148242118482&type=3&theater&ifg=1 from this discussion thread at Jean Giraud Moebius https://www.facebook.com/photo.php?fbid=10216033775290041&set=gm.3083252061700786&type=3&theater&ifg=1)
b) In the same statement, he was , he "was not in any way thinking about HR Giger's vagina-like tubular entrances " which thankfully I didn't assume either, assuming that he meant the three derelict ship entrances from Alien, I can't claim to know who thinks that he was, but I do make comparisons between this illustration and the work of Giger in other ways and I appreciate that conversing with people who are artists about his or her artwork from my angle can sometimes be a bit like trying to pull their back teeth out with a pair of pliers even if there isn't exactly much of a conversation going.
- Sylvain Despretz: I am sure that you draw
fascinating parallels between images, much like a psychiatrist looks for
patterns, and I am sure that some of it makes for interesting
hyperbole. But I have to say that it's easy to conclude you're not an
artist yourself because if you were, you'd immediately understand that
this "left-brain" approach to analyzing
correspondences in relatively unrelated works doesn't resemble the way
artists themselves usually approach their process of creation unless
they are actively plagiarizing or paying homage. Of course, there are
instances of unconscious "lifting" that also occur and must be taken
into account, but for creative people, these musings are often a bit
convoluted and labyrinthine: it's easy to wind up nowhere fast and be
stuck, when we could instead do more creating
I cannot speak for anybody else's work, but I have told you before regarding the Superman Lives/Brainiac ship that you are mistaken about my references: in that specific instance, I was not in any way thinking about HR Giger's vagina-like tubular entrances but rather, trying to emulate the works of a photographer who shot pictures of gas factories (Bernd & Hilla Becher: Hochöfen (Blast Furnaces). I had such a book with me at the time, you see. I know this is information that you don't really want to process, since you have a theory in search of a validation, but sometimes, things happened in ways that we are simply unwilling to conceive of. It doesn't always mean we're right.
You're work seems academic, and I'm sure it has a value from that viewpoint, but as we knoa about art criticism, and the intellectualization of the creative process, one comes before, and the other behind. The map is not always the territory. "(Source: Jean Giraud Moebius Facebook group, January 13th 2019 https://www.facebook.com/photo.php?fbid=2015148242118482&set=p.2015148242118482&type=3&theater&ifg=1 (NB. I didn't compare his spacecraft to the entrances of Giger's Alien derelict ship, and I appreciate the photo that he sent along with this. (See K. for image of the gas factories), and am happy for Sylvain to have his view on the matter, whether it has anything to do with anything I'm writing about here and I suppose that I shouldn't take what Sylvain said to me personally, he might have something completely different to say about the subject next time equally interesting. Yes, please hurl another custard pie in my face!)
|(Bernd & Hilla Becher: Hochöfen (Blast Furnaces).|
c.i) In terms of these furnaces, at first nothing compares very well other than he stated what he was trying to do one can appreciate the similarity in the style of piping, I can not pin it down to pieces from any particular photograph and I am very thankful that he did present this image with information to me, even if I was not supposed to be interested in processing. I should say that the original uncoloured drawing is available on the internet only as a low definition image. Looking at the piping in the photograph, might invite one to want to creatively see things into them and develop it into all sorts of bizarre structures
c.ii) As time goes by reaching into late February 28th 2019, I could start to see how Moebius and Carlo Rambaldi had referenced a photo, the central bottom photograph which happened to be the Bernd and Hilla Becher, Duisburg Bruckhausen, Ruhrgebiet Germany taken in 1995. Carlo Rambaldo had used it in a painting of his cinema creatures, transforming the framework and pipes into his King Kong gorilla and then Moebius appeared to have referenced the Rambaldi painting with this photograph in mind. So this spelled out the idea of a shared enthusiasm for the images of these curious structures.
|Bernd and Hilla Becher, Duisburg Bruckhausen, Ruhrgebiet Germany 1995|
|Bernd and Hilla Becher, part of a pair of photos of Blast Furnaces in Ilsede and Hannover. 1984?|
|Blast furnace next to Sylvain Despretz' skullship|