Historical Figures Codexery

H. R. Giger

Swiss artist who created the xenomorph and pioneered biomechanical art.

Hans Ruedi Giger (5 February 1940 – 12 May 2014) was a Swiss artist whose signature style, which he called "biomechanical," fused human anatomy with machinery, typically rendered in airbrush. He created the xenomorph creature for Ridley Scott's 1979 film *Alien*, and was part of the visual effects team that won an Academy Award for the film's design. His work is permanently housed at the H. R. Giger Museum in Gruyères, Switzerland, and has appeared on album covers, furniture, and in music videos.

Giger was born in Chur, the capital of Graubünden, Switzerland's largest and easternmost canton. His father, a pharmacist, considered art a "breadless profession" and pushed him toward pharmacy. In 1962, Giger moved to Zürich to study architecture and industrial design at the School of Applied Arts, graduating in 1970.

His first commercial success came in 1969, when H. H. Kunz, co-owner of Switzerland's first poster publishing company, printed and distributed Giger's early posters. Giger's design for the *Alien* creature was inspired by his painting *Necronom IV*, and he earned an Oscar for it in 1980. His books *Necronomicon* and *Necronomicon II* (1985), along with frequent appearances in *Omni* magazine, boosted his international fame. He was inducted into the Science Fiction and Fantasy Hall of Fame in 2013. Giger also created album art for bands including Danzig, Emerson, Lake & Palmer, Magma, Carcass, Celtic Frost, Triptykon, Deborah Harry, Steve Stevens, and the Dead Kennedys. In 1998, he bought Saint-Germain Castle in Gruyères, which became the H.R. Giger Museum.

Giger had a relationship with Swiss actress Li Tobler until her suicide in 1975; her face appears in many of his paintings. He married Mia Bonzanigo in 1979, but they divorced after a year and a half. He later lived and worked in Zürich with his second wife, Carmen Maria Scheifele Giger, who directs the museum. Giger died on 12 May 2014 in a Zürich hospital from injuries sustained in a fall.

His artistic process began with small ink drawings and later moved to oil paintings, but for most of his career he used airbrush to create monochromatic, nightmarish dreamscapes. He also worked with pastels, markers, and ink. His biomechanical style depicted human bodies and machines in cold, interconnected relationships. Key influences included painters Dado, Ernst Fuchs, and Salvador Dalí (whom he met through Robert Venosa), as well as sculptor Stanislaw Szukalski and painters Austin Osman Spare and Mati Klarwein. He was a friend of Timothy Leary. Giger studied interior and industrial design at the School of Commercial Art in Zurich from 1962 to 1965, and his first paintings were made as art therapy.

Giger directed several films: *Swiss Made* (1968), *Tagtraum* (1973), and *Giger's Necronomicon* (1975). He designed furniture, notably the Harkonnen Capo Chair for Alejandro Jodorowsky's abandoned *Dune* film; David Lynch later used only rough concepts from Giger for his own *Dune* adaptation. Giger admired Lynch's *Eraserhead* as the closest film to his own vision. He also applied his biomechanical style to interior design. A "Giger Bar" in Tokyo was built from his rough sketches, disappointing him so much that he disowned it. Two bars in Switzerland—in Gruyères and Chur—were built under his close supervision. At The Limelight in Manhattan, his artwork was licensed for a VIP room, but the installation was temporary and ended when the club closed. Giger's art has heavily influenced tattooists and fetishists. Under a licensing deal, Ibanez released several H. R. Giger signature guitars and a bass.

Giger's film credits include designing the Alien creature, the Derelict, and the Space Jockey for *Alien*; he was credited for the creature's creation in *Aliens*, *Alien Resurrection*, *Alien vs. Predator*, and *Aliens vs. Predator: Requiem*. For *Alien 3*, he designed the dog-like Alien bodyshape and many unused concepts, though he was not credited in the theatrical version. He also worked on *Poltergeist II: The Other Side*, *Killer Condom* (as creative consultant and set designer), and *Species* (designing the character Sil).

born
5 February 1940, Chur, Graubünden, Switzerland
died
12 May 2014, Zürich, Switzerland
field
Art, film design, interior design
nationality
Swiss
known_for
Biomechanical art style, design of the xenomorph in Alien

Quick Facts

Birth Name
Hans Ruedi Giger
Birth Date
df=yes · 1940 · 2 · 5
Birth Place
Chur, Graubünden, Switzerland
Death Date
df=yes · 2014 · 05 · 12 · 1940 · 2 · 5
Death Place
Zürich, Switzerland
Occupation
Painter, sculptor, set designer, film director
Style
Biomechanical art, science fiction, horror, fantasy
Website
hrgiger.com
Spouse
Mia Bonzanigo · 1979 · 1981 · end=div / Carmen Maria Scheifele · 2006
Partner
Li Tobler (1966–1975)

Facts from the source article.

Lore & Background

Giger was born in 1940 in Chur, the capital city of Graubünden, the largest and easternmost Swiss canton. His father, a pharmacist, viewed art as a "breadless profession" and strongly encouraged him to enter pharmacy. In 1962 he moved to Zürich, where he studied architecture and industrial design at the School of Applied Arts until 1970. Giger's first success occurred when H. H. Kunz, co-owner of Switzerland's first poster publishing company, printed and distributed Giger's first posters, beginning in 1969. He was part of the special effects team that won an Academy Award for Best Achievement in Visual Effects for their design work on the film Alien. His design for the Alien was inspired by his painting Necronom IV and earned him the Oscar in 1980. His books of paintings, particularly Necronomicon and Necronomicon II (1985) and the frequent appearance of his art in Omni magazine contributed to his rise to international prominence. Giger was admitted to the Science Fiction and Fantasy Hall of Fame in 2013. He is also well known for artwork on several music recording albums including Danzig III: How The Gods Kill by Danzig, Brain Salad Surgery by Emerson, Lake & Palmer, Attahk by Magma, Heartwork by Carcass, To Mega Therion by Celtic Frost, Eparistera Daimones and Melana Chasmata by Triptykon, Deborah Harry's KooKoo, Atomic Playboys by Steve Stevens, and Frankenchrist by the Dead Kennedys. In 1998, Giger acquired the Saint-Germain Castle in Gruyères, Switzerland, which now houses the H.R. Giger Museum, a permanent repository of his work. Giger had a relationship with Swiss actress Li Tobler until she died by suicide in 1975. Tobler's image appears in many of his paintings. He married Mia Bonzanigo in 1979; they divorced a year and a half later. Giger lived and worked in Zürich with his second wife, Carmen Maria Scheifele Giger, who is the director of the H. R. Giger Museum. On 12 May 2014, Giger died in a Zürich hospital after suffering injuries from a fall.

Reader's Guide

Giger started with small ink drawings before progressing to oil paintings. For most of his career, he worked predominantly in airbrush, creating monochromatic canvasses depicting surreal, nightmarish dreamscapes. He also worked with pastels, markers and ink. Giger's most distinctive surrealist innovation was that of a representation of human bodies and machines in cold, interconnected relationships, which he described as "biomechanical". His main influences were painters Dado, Ernst Fuchs, and Salvador Dalí. He was introduced to Dali by painter Robert Venosa. Giger was also influenced by Polish sculptor Stanislaw Szukalski, and by painters Austin Osman Spare and Mati Klarwein, and was a personal friend of Timothy Leary. He studied interior and industrial design at the School of Commercial Art in Zurich from 1962 to 1965, and made his first paintings as art therapy. Giger directed a number of films, including Swiss Made (1968), Tagtraum (1973), Giger's Necronomicon (1975). Giger created furniture designs, particularly the Harkonnen Capo Chair for a film of the novel Dune that was to be directed by Alejandro Jodorowsky. Many years later, David Lynch directed the film, using only rough concepts by Giger. Giger had wished to work with Lynch, as he stated in one of his books that Lynch's film Eraserhead was closer than even Giger's own films to realizing his vision. Giger also applied his biomechanical style to interior design. One "Giger Bar" appeared in Tokyo, but the realization of his designs was a great disappointment to him, since the Japanese organization behind the venture did not wait for his final designs, and instead used Giger's rough preliminary sketches. For that reason Giger disowned the Tokyo bar. The two Giger Bars in his native Switzerland, in Gruyères and Chur, were built under Giger's close supervision and they accurately reflect his original concepts. At The Limelight in Manhattan, Giger's artwork was licensed to decorate the VIP room, the uppermost chapel of the landmarked church, but it was never intended to be a permanent installation and bore no similarity to the bars in Switzerland. The arrangement was terminated after two years when the Limelight closed. Giger's art has greatly influenced tattooists and fetishists worldwide. Under a licensing deal Ibanez guitars released an H. R. Giger signature series: the Ibanez ICHRG2, an Ibanez Icem

Did You Know?

More in Artists & Composers

Elsewhere in the Historical Figures universe

Spotted an error? Know more?

This is a living reference — every entry is fact-audited, and reader corrections feed straight into our audit queue. Suggest an edit · See this site's audit record

Comments

Loading…
Open in the interactive codex →