Although this book does not feature art of the quality of Necronomicon (generally featuring his best artwork in my opinion) or Necronomicon 2, Biomechanics rounds off Giger's most productive period from the late 60s to the late 80s.

The film also shows that the Xenomorph’s look is not as disgusting and terrifying as the way the species reproduces.

Lovecraft was recommended to Giger by his friend, Sergius Golowin – a librarian, occultism aficionado, and Timothy Leary’s companion during his Swiss “exile”. It can also rarely give us any answers; instead, it gives us yet more questions and tries to express what is somewhere at the edge of our experience, beyond rational judgement or even the capabilities of language. The painter stated that the experience which had had a powerful effect on him was the trauma of his own difficult birth. The nightmarish, industrial installations are then a metaphor of an unknown, terrifying environment we enter during birth.

Giger’s popular art book, Necronominicon , caught the eye of director Ridley Scott who was looking for a creature for his soon to be produced film Alien. The following year his first posters were published and he had his first exhibitions outside of Zurich. The nightmarish fusion of human bodies with complex machinery – pipes, wires, pistons – is the main theme of the works in Necronomicon. R. Giger mentioned that the source of his interest in the macabre was Jesus’ bleeding head he had observed in catholic kindergarten. His surreal biomechanical art, which explored the fusion of human, machine, sex and environment, provided the games industry with a new palette of Freudian horror.Its face, on the other hand, became much more monstrous due to the accentuated teeth and a lack of visible eyes.

The long, phallic head and a tail ending with a strange object – maybe a human skull, maybe the creature’s larva – grab the viewer’s attention.The lickers, the ooze, the Medusa-like Uroboros and the invasive Duvalia all played on the themes of bodily transgression and oral sexuality that Giger explored. Giger managed to capture a certain spirit of the twentieth century and crystallise particular (anti)aesthetic propositions. Giger could likely be named a turpist – his art celebrates something most of us would rather not think about. The birth of such an idea allowed the development of natural sciences and weakened the role of religion – the body was no longer a mystery, a temple, or something created in God’s image; rather, it had became a complex system governed by the laws of hydraulics, mechanics, and causality.