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Paul Booth's Eternal Torture - a stunning collection in a stunning ...

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Words & mages by Agnieszka HairesisThe H.R. Giger Museum is based <strong>in</strong> the beautifulmedieval town of Gruyeres, located on top of a hill atthe foot of Swiss Alps. The museum houses the artist’spa<strong>in</strong>t<strong>in</strong>gs, sculptures, film and furniture designs, dat<strong>in</strong>gfrom early 1960’s to the present day. The top floor,which offers a <strong>stunn<strong>in</strong>g</strong> view of the town and surround<strong>in</strong>glandscape, is home to Giger’s private art <strong>collection</strong>,which <strong>in</strong>cludes remarkable pieces from Andre Lassen,Burland Francois, Joe Coleman, Rudolf Stussi, Mart<strong>in</strong>Swarz, Steven Leyba and others.The famous H.R. Giger Museum Bar is located <strong>in</strong>the adjo<strong>in</strong><strong>in</strong>g w<strong>in</strong>g of the museum complex. Itsom<strong>in</strong>ous skeletal <strong>in</strong>terior welcomes you <strong>in</strong>to a newreality where biomechanical surrealism isn't so fantasticanymore. It’s as if you’ve walked <strong>in</strong>to a Gigermasterpiece and are liv<strong>in</strong>g <strong>in</strong> it for a moment.Just above the bar is a gallery that exhibits work ofother artists on a regular basis. Currently that artist islegendary tattooist, <strong>Paul</strong> Booth. The selection of work,10


called “Cruciatus Aeternum",documents his artistic evolutionover past 10 years <strong>in</strong> pa<strong>in</strong>t,mixed media and tattoo. It is atruly astonish<strong>in</strong>g <strong>collection</strong> froma darkly creative m<strong>in</strong>d.Wrote Booth of the show: “Inmy mid-teens, I spent countlesshours obsessed with try<strong>in</strong>g tounderstand and emulateGiger's art. His books were oneof my greatest teachers—of thefew I had. I became lost <strong>in</strong> hisdark, surreal worlds, and notmany s<strong>in</strong>ce have been able tocaptivate my imag<strong>in</strong>ation withsuch unrelent<strong>in</strong>g force. In myown way, I have always tried todo the same, as that to me is acrucial element to artisticexpression. Giger is the reasonthat light and shade, dimensionand texture have always beena major focus for me <strong>in</strong> my art,whether it is on canvas, sk<strong>in</strong>, orotherwise. Now I f<strong>in</strong>d myself,30 years later, honored to beshow<strong>in</strong>g my art <strong>in</strong> Giger'smuseum. I’m suppose I choseto treat this show somewhat asa timel<strong>in</strong>e because it representsa culm<strong>in</strong>ation <strong>in</strong> my life’swork thus far. While it closes acircle for me historically, itsimultaneously marks thebeg<strong>in</strong>n<strong>in</strong>g of an entirely newera as I can only evolve fromthis experience. I can't evenimag<strong>in</strong>e where I will go fromhere and I th<strong>in</strong>k that is whathas me most excited.”Even though I’d beenexposed to most of thedisplayed pieces somewhereonl<strong>in</strong>e, it felt like I was see<strong>in</strong>gthem for the very first time. Ilearned that you can’t trulyappreciate nor experience artuntil you’re fac<strong>in</strong>g it live.Nowadays, real masterpieces


are be<strong>in</strong>g killed daily by pixels and brutally flattened byour glossy screens. Unspoken emotions pa<strong>in</strong>tedbetween the brush strokes are be<strong>in</strong>g lost somewhere <strong>in</strong>the electronic transition.No photography or video of highest quality will everdo justice to the color, detail and texture that spr<strong>in</strong>gsout of Booth’s work. Every l<strong>in</strong>e, shape, and shade iscarefully planned—his attention to detail and use oflights and shadows is m<strong>in</strong>d blow<strong>in</strong>g. It’s a controversialand beautifully disturb<strong>in</strong>g <strong>collection</strong> that changes theway you look at the surround<strong>in</strong>g world and of course, isnot displayed with out controversy. One of the pa<strong>in</strong>t<strong>in</strong>gs,“The Founta<strong>in</strong> of All Iniquity", was removed fromthe Museum due to political pressure from the CatholicChurch.The open<strong>in</strong>g reception was a big success andturnout was pretty impressive. At some po<strong>in</strong>t the gallerybecame so crowded that it actually took a while beforeyou could get to see some pieces. It’s amaz<strong>in</strong>g when <strong>in</strong>one room you can hear so many different languages,even though you might not understand the commentsyou can still recognize the excitement and admiration <strong>in</strong>visitor’s voices.I felt truly blessed to witness <strong>Paul</strong> Booth, Master ofMacabre and Dark Arts, meet<strong>in</strong>g H.R. Giger, Master ofBiomechanical Art and Fantastic Surrealism—whowouldn’t! To top it all off, we watched an actual ArtFusion Experiment be<strong>in</strong>g created <strong>in</strong> front of our eyes byfour extremely talented artists: <strong>Paul</strong> Booth, Filip Leu,Tit<strong>in</strong>e Leu and Sab<strong>in</strong>e Gaffron, musically accompaniedby Ajja S.F. Leu! The event was <strong>in</strong>credible and Istrongly believe this was one of the most important artand tattoo related events of the past decade.The Booth exhibit is up through the month of MarchYou can learn more about it, and the H.R. Museum <strong>in</strong>general, at http://www.hrgigermuseum.com.

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