![]() The image of a brooding, mysterious artist was nurtured by Giger working only at night, keeping his curtains permanently drawn and dressing mainly in black - a habit he acquired while working as a draftsman because it made Indian ink stains stand out less on his clothes. It’s never been subject to its own culture. Frequently frustrated by the Hollywood production process, Giger eventually disowned much of the work that was attributed to him on screen. In Alien Vault, the excellent account of the first film’s creation by Ian Nathan, the nature of the creature is briefly discussed by its creators. ![]() Giger went on to work as a set designer for Hollywood, contributing to "Species," ''Poltergeist II," ''Dune," and most famously "Alien," for which he received a 1979 Academy Award for special effects. Along with his design for Debbie Harry's solo album, "Koo Koo" (1981), it featured in a 1991 Rolling Stone magazine list of the top 100 album covers of all time. Giger's vision of a human skull encased in a machine appeared on the cover of "Brain Salad Surgery," a 1973 album by the rock band Emerson, Lake and Palmer. He also created sculptures, preferably using metal, styorofoam and plastic. The host of one of his early exhibitions was reportedly forced to wipe the spit of disgusted neighbors off the gallery windows every morning.Ī collection of his early work, "Ein Fressen fuer den Psychiater" - "A Feast for the Psychiatrist" - used mainly ink and oil, but Giger soon discovered the airbrush and pioneered his own freehand technique. His mother Melli, to whom he showed a lifelong devotion, encouraged her son's passion for art, despite his unconventional obsession with death and sex that found little appreciation in 1960s rural Switzerland.
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