TRIGGER WARNING: THE FOLLOWING MATERIAL IS NSFW.

Most might recognize Hans Rudi Giger's work from the Ridley Scott film Alien, for which Giger designed the central monster. Other than this, Giger is generally known for his 'biomechanical' paintings and sculptures. The full scope of "art" works of HR Giger are far too numerous to document or discuss in full. A video compilation of many of them is available here. The clip contains NSFW material and is accompanied by a soundtrack that some may find additionally triggering.

I was initially prompted to take a closer look at Giger after I realized the strong similarity between Giger's Alien design, and the early form of a human embryo, as seen below. As will be discussed later in this post, in the course of looking into Giger's history, I discovered what appears to be evidence at minimum of Giger's awareness of the use of food items as code words later made infamous in the Podesta Email scandal that morphed into "Pizzagate."

Giger's Monstrous Embryos

A human embryo within the first month of development is strikingly visually similar to some depictions within Giger's work.

Giger's representation of the earliest stages of human development is both terrifying and violent. Giger makes the most vulnerable stage of human life into a monstrous danger. He weaponizes gestation to the point that a fetus is not a child who cannot survive outside the womb, but a bomb, a bullet, a spreader or contagion, as if infants had the power and design to kill. Likewise, in the film Alien, Giger's Xenomorph and its life-cycle incorporates rape, male and female genitalia, and the process of birth simultaneous with violent death.

In the film, we witness "impregnation" via a "face-hugger," designed by Giger. Afterwards, gestation in the human chest cavity ends with an explosion upon "birth," at which time the offspring begins its rapid growth followed by a violent rampage.

The film is presenting us with, essentially, an oral rape as a form of insemination, followed by the kind of rib-cracking disembowelment commonly described in ritual abuse allegations. Oral rape appears almost constantly across nearly all of Giger's work. One blogger discussed these themes in depth, writing of Giger's design for Alien: "... The personal violation of one’s body by a parasite is what truly drives this very primal fear, which Giger explained at length in multiple interviews."

Some observers cite Giger's fascination with gestation, birth, babies, violence and disease as part of his central horror at the prospect of global human overpopulation. In that sense, his take on the human fetus as parasitic and deadly in his Xenomorph, or armed and shot out of a gun as a bullet in his other works, makes a superficial kind of sense. We also know that this concern is a central one for other members of the global elite, from royals to politicians and TV presenters. Severe population control is also mentioned at sites like the Georgia Guidestones.

The use of the barrel of a gun as a phallic metaphor for the delivery of children (and children as bullets, bombs, etc) is a motif seen in many of Giger's other works, which we will discuss later in this article.

However, I don't feel overpopulation fully explains Giger's imagery. The artist is also quoted referencing his own nightmares and worst fears as the source of his work:

"As a child, Giger was beset with night terrors, a sleep disorder that causes episodes of intense fear, screaming, and flailing during rest. To combat this, he began drawing his nightmares in self-directed art therapy. Much of what viewers see in Giger’s work is something that once caused him fear, but instead became an inspiration.Dan O’Bannon, the co-writer of Alien, once asked Giger why he was afraid of his visions since they were just a part of his mind. Giger responded, “That is what I am afraid of.”"

The Guardian's obituary for Giger likewise cited night terrors and art therapy as the genesis of his artistic expression:

"Giger's "biomechanical" style was born out of his experience of night terrors and the art therapy in which he partook to combat this sleeping disorder."

What caused Giger's early "night terrors"? Was he ritually abused, sexually abused, or otherwise traumatized? How did this material end up within the psyche of a young boy who had not personally encountered war, disease, or natural catastrophe? A serious reason to raise these questions includes Giger's purported anxiety towards sex and women, which is also cited as a reason for the darkness in his work.

If Giger was himself abused, might it explain the disembodied genitalia and other body parts throughout his work? Perhaps Giger's gut-level horror of overpopulation isn't simply a cover provided to shield a darker meaning, but is in fact his way of verbally articulating a morbid fear of reproduction, sex, male and female genitalia, primarily inspired by abuse.

Additionally, Giger's constant portrayal of infants and fetuses as bullets or bombs, and penises as guns, inherently ties sex and reproduction to violence. Read one way, we can dismiss this reappearing motif as representative of warfare, planetary destruction, and related ills resulting from an overpopulated humanity on a global rampage. However, this same symbology can equally be read as resulting from deep trauma, which thereafter intertwines all aspects of reproduction with violence and horror.

As an aside: Does Giger include Zippers in so much of his work because he saw one up close before being abused at an extremely early age? ( Zippers will come up again further along in this piece)

Is Giger both a victim and a perpetrator?

Birth

In addition to Giger's depiction of monsters that closely resemble fetuses, we witness a very clear depiction of birth, diseased or rotting infants, and occult references.

Giger: Victory III

Most readers will need little reminder of the centrality of birth within ritual abuse content, from the infamous words spoken in Comet Ping Pong, ("I had to put that shit down. Euthanasia.") to the childhood drawings of RA Anon, to allegations made by survivors in historical ritual abuse rings.

Rape, torture, and murder during the birth process were documented among other horrendous abuses in the testimony of alleged victims in the Dutroux affair.

From an article on the subject that contains NSFW and very triggering images, we read:

The same site provides the only parts of the X-Witness testimony that has been translated into the English language, and its documentation is invaluable. There is a much larger book, written in Dutch and translated into French, which details the entire case including the X-Witness testimony, but the work has unfortunately never been translated into English.

Returning to Giger, his horrific representation of birth is exemplified in the following "Stillbirth Machine" series, in which the infants appear to die upon delivery via bizarre machine function or the murderous attention of an attendant.

The following images comprise Giger's "Stillbirth Machine" series.(1-3)

In this first version of "Stillbirth Machine," we see a woman positioned upside-down with arms and legs splayed, evoking the shape of an inverted pentagram. She appears to be giving birth through a large metal phallically shaped tube, which doubles as a mechanical birth canal. It appears that the infant is about to be stabbed in the neck by two pincer-like instruments upon exiting the pipe. The mother appears to be almost smiling, possibly unconscious of the fact that she is birthing. She is restrained at the hands and feet, and her eyes are covered by a metal plate.

The second "Stillbirth Machine" image shows another scenario in which a woman - this time wearing what looks like Egyptian Pharaonic headgear - is giving birth via a large phallic/vaginal metal birth canal, which unlike the first image also evokes the barrel of a gun. As in the first image, the infant's head is emerging from the top of this barrel, however the child is awake and conscious, terrified by a metallic tendril - the tongue of a multi-armed, decaying attendant -which is on the verge of stabbing their eye, presumably to go through the brain and kill him (or her). It seems this has happened many times previously, as there is a pile of rotting corpses of infants in the layer below this birthing scene. The two layers are breached by a disembodied phallus, into which a rat appears to be either crawling upwards or is being expelled tail-first.

Perhaps this deathly attendant - and the skeletal figure embracing the mother as she gives birth - is intended to communicate the presence of death at the moment of birth in the sense that the birth of every human being ensures that they will at some point die. However, the additional images in this series suggest that this is not the only meaning conveyed.

The third "stillbirth machine" image removes the face and upper body of the mother from sight, presenting her genitalia to the viewer, from which an umbilical cord runs upwards to a capsule- instead of a tube - which holds the baby's body. Again, the infant's head is the only part to emerge from this pod, a mechanical placenta connected to the body of his (or her) mother. The child is no longer unconscious (as in the first image) and no longer terrorized on the verge of death, (as in the second image) but is being actively killed via what looks like gas or steam being sprayed from both sides of his head.

Rob Ager analyzed Giger's work, noting the core association in Giger's art between birth and death, to the point that birth is death. Ager's analysis is worth listening to in full, though it includes NSFW images and may be triggering.