People have a very visceral reaction to Giger, he taps into something very primal with his art, and that is where people react from and to it. I think the word Freudian is a term that I have seen connected to him in more than one place.
I saw Alien and I found his art as two separate experiences that dovetailed when I was looking through one of the books I purchased.
To only know him for that one facet of his work would be criminal – there is so much more to him. As a writer looking at a book of Giger is like getting fat on the best cooked dreams … real gourmet stuff. He is one of those guys who takes what should be impossible to translate from that somewhere place of darkness, illicit sexiness, and transgressed boundaries, where the unspoken finds flesh to move about with, and he renders it in lifelike detail.
I had his posterbook in University and made a whole wall dedicated to Giger – some people did not like the aesthetic in the least, and unbelievably to me, deigned to call some of the work ugly, which, while some of it dealt with uneasy subjects was, in no way that I could see, ugly.
Darkness is something some people just cannot handle – they want to shy away from it and pretend that light falls on everything. If only this were true, I am sure life would be much easier. But in the darkness there can be something seductive and appealing which speaks at once on an analytical aesthetic level, but which also plugs into that current where the blood pumps and the hackles rise, and this can be very pleasurable.
Would I want to live in one of Giger’s worlds? Probably not. But to visit as a tourist where these strange creatures are trapped behind glass is more than a passing pleasure that I have engaged in over the years. You should chase him down – it is so much easier now than it used to be, and prepare to embrace the open heart surgery he does on you as you sit there, barely anaesthetised by the shiny gloss of the images.