h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

Anybody who is really interested in his artwork may also be interested in the furniture that he creates. All of this can be seen on his website.

Not mentioned in the aboce article, Giger also has done projects for musical artists, including a microphone for the singer of korn in the shape of an alien female.

The microphone used by Korn's lead singer jonathon Davies was designed and created for him by Giger

Sexy Alien Mike Stand: In a very cool move, Korn's Jonathan Davis hired avant-alien Swiss artiste H.R. Giger to design a "piece of functional art"--his microphone stand! Davis described the creator of Ridley Scott's stunning Alien effects as a "kindred spirit" after spending an evening at Giger's outrageous pad in Switzerland. The revered artist also created album covers for Emerson, Lake & Palmer's classic Brain Salad Surgery, as well as Koo-Koo for Debbie Harry. His latest rock piece is a sexy, serpentine-like female mike stand.


Only five of the stands were manufactured before the molds were destroyed, and Davis got two of them. "I've always liked the dark, vile, mechanical stuff he creates," Davis said, "but then I got into the erotic side of his art. I actually have some of his art in my house, so I'm excited that he even considered making something for me." Korn's fifth album, Untouchables, hits stands June 11. And you can check out the erotic Giger mike stand in person starting June 20, when the Untouchables summer tour kicks off in Pennsylvania.

courtesy of Q Magazine

Korn have the ultimate collectible in their live set. Their microphone stand was designed by H.R. Giger, the man who created the psycho-erotic beasts in the Alien movies.


The mic stands made their world debut in Mexico City earlier this month.


Frontman Jonathan Davis commissioned legendary Swiss artist H.R. Giger to design a piece of functional art. Giger came up with a custom designed, bio-mechanical mic stand cast in the shape of a voluptuous, serpentine alien woman.


Only five stands were manufactured at a foundry in Zurich from molds that were destroyed--instantly adding to their historic allure and value. Jonathan received two of the stands and an option for the third, should he decide he needs it or to make one available to a museum of his choice. The other two belong to Giger, one earmarked for permanent display at the H.R. Giger Museum in Switzerland, the other to be used in his gallery exhibitions. The mic stand was also featured in Revolver and Maxim.


"It's awesome," says Jonathan. "I've been a big fan of Giger's work ever since my sister's boyfriend turned me on to him. I've always liked the dark, vile, mechanical stuff he creates, but then I got into the erotic side of his art. I actually have some of his art in my house, so I'm excited that he even considered making something for me.”


The historic mic stand resulted from Jonathan's visit to Giger in Switzerland. "It was a trip," Jonathan says. "He took me into his house and we kicked back and talked all night. All I did was ask him to make a functional piece of art. So later, he sent me a bunch of drawings and I approved the design of this really sexy, vile, mechanical creature." Cast in metal, Giger's design features an otherworldly, oversexualized female creature with Jonathan's microphone atop the beast's head.


Describing his visit to Giger's home, Jonathan discovered he and the fabled artist are kindred spirits who appreciate the darker aspects of the human condition. "He took me riding in a train he built for himself, a realization of his childhood dream," Davis enthusiastically recalls. "It's like this two-seater death train. You drive through his backyard around his Zodiac Fountain of twelve amazing sculptures and through narrow tunnels just big enough to squeeze a body through. It was eerie. He’s such a unique character. Dark, at the same time very human.”


The legendary fine artist and conceptualist came to the attention of rock fans in 1973, when he crafted the cover art for Emerson, Lake & Palmer's prog-rock classic, Brain Salad Surgery, and again in 1981 with his multi-cover paintings for Debbie Harry’s Koo-Koo album. But Giger achieved his deserved international fame with his work on Ridley Scott’s “Alien”. In 1980, he received the Academy Award for “Best Achievement for Visual Effects” for his designs of the film’s title creature and its otherworldly environments.



By Paul Cashmere