H.R. Giger - Out of the Shadows

stopped buying my paintings. And
there always are those people who say
that you can't make real art with an
airbrush because it is used a lot for
illustrations.
ITA: So there's distinction because of
how the art is done?
HRG: Yes. It also happened with my
sculpture, Female Torso. Because it
was made of polyresin and rubber, the
gallery didn't include it in the exhibition.
The metal casts are often regarded
more highly as art —but that's
stupid. I think the form is more important
than the material. You can't cast
from nothing. The original sculpture
done by the artist, whether in plaster,
polyresin or rubber, is more authentic
than the casts made from it. They were
afraid it wouldn't be taken seriously as
art. It was the last piece created, the
culmination of many of the other concepts
in the exhibition, beginning with
the Crosswatch, the Chainwatch and
then the arms, legs and heads. In the
end it became the whole figure. While
we were working on the catalog, and
even after, I was still creating new
sculptures and that's why this piece
never appeared in the catalog. I had
planned to cast an edition of Female
Torso, but there wasn't enough time.
Instead we only used it for the exhibition
poster. It is interesting that,
just after the exhibition was over, the
original Female Torso was the first to
be sold.
ITA: I want to get back to something
that you'd mentioned earlier, that you
hadn't painted in four years, but it is
the work you are best known for....
HRG: Yes, that's true. I have painted
for over twenty years —I can do it
again—and maybe it will look different.
The last paintings I did were kind
of three-dimensional. These were the
Pump Excursions, a suicide that looks
like an Indian playing the flute. He is
sitting with the barrel of a pump-action
shotgun in his mouth. I have such a
gun at home. I did this painting four
times, twice in black and white and
twice in color. The color versions are
different in textured relief. Since then I
have also used the airbrush a few times
on lithographs, but I did this in the old
manner in which I worked between
1966 and 1969 on my Atomic
Children, cyberpunks wearing virtual
(opposite page, top left) Tattoo by Peter Nyberg, Viking Tattoo, Sweden. (top center)
Tattoo by Mick Tattoo, Zurich, Switzerland. (top right) Tattoo by Johnny "Junkfood"
Niesten, Heerlen, Holland. (center right) Tattoo by Andrea Elston, East Side, Inc., NYC.
(bottom right) Tattoo by Susan Duffy, Apocalypse Tattoo, Hoboken, NJ. (bottom center)
Tattoo by Wayne Kendrick, Baton Rouge Tattoo Co., LA. (bottom left) Tattoo by Gregory
Christian, Tennessee Mtn. Studio, Johnson City, TN. (center left) Tattoo by Patty Kelley,
Avalon Tattoo Studio, San Diego, CA. (center) Cover, Alien Monster I (Giger's Alien),
Work #106, 1978. (this page, left) Work #372, Alien III, 1978. (right) Tattoo by Guido
Varesi-Fritschi, Varry's Tattoo Shop, Switzerland.
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