Dimitria: You encountered H.R. Giger during the 1980s, embarked on a romantic journey together in 1996, and sealed your commitment with marriage in 2005. Given your unique and distinctive visual aesthetics, I'm genuinely intrigued: could you share details about your wedding ceremony? Was there a honeymoon afterwards?
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Carmen: We wed at home, it was Christmas. The wedding was officiated by a wonderful friend of ours, Urs Tremp, and he was really touching. We wanted to have a small wedding with only eight of our closest friends. So it was very intimate and warm.

Hans Ruedi Giger with his wife Carmen Maria Giger

We did not have an official honeymoon, but later in spring we went to the Alhambra in Granada with our friends. The Alhambra is my favourite place and I wanted Hans Ruedi to see the “Patio de los Leones” (Court of the Lions), in my eyes one of the most beautiful pieces of architecture there is.

The Alhambra, a fortress with several small palaces inside, is of Moorish origin. They came to Spain I think in the 8th century. And had a great influence in Spanish culture - not only in architecture, but also refining the Spanish people’s life and tastes in general . It's relatively small and crafted from reddish fire-coloured stones. Of course, Hansruedi loved it.

GIFs: Two of H.R. Giger's sculptures exhibited at the group exhibition "Birth Machine Baby" with Mark Prent. Curated by Harmony Korine. November 5 until December 21, 2019, Gagosian Park & 75, New York.

D: Recently at H.R. Giger and Mark Prent’s group show 'Birth Machine Baby' at Gagosian, the curator Harmony Korine said 'In some respects, Giger stands as one of the most significant artists of the 20th century. When you consider his influence and its pervasive adaptation, it holds immense significance.' Do you believe H.R. Giger strived to attain a position within the pantheon of 20th-century art giants, or was this recognition an unintended consequence of his journey?

C: To me, Hansruedi is one of the most important artists of the last century, and Oliver Stone said beautifully about him:

“I do not know anybody else who has so accurately portrayed the Soul of modern humanity. A few decades from now when they talk about the twentieth century, they will think of Giger.”

Giger was like a seismograph, not only around the topics of the cold war, but especially around those of the 60s - like so many other icons of this movement, he awakened a new generation’s mind.
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Though he was always interested in the person who was behind art or music, he himself didn't want to be seen, but only his art. His works had a message similar to other important artists—to get the message over to the people, this is the most important thing that fuels you. As a person he was very discreet and shy. Again, he did not want to be on the foreground.

Image: H.R. Giger and Mire Lee at Schinkel Pavillon. Photo: Frank Sperling.

H.R. worked with the “present” in his art, and his fears for the future are almost palpable. For instance, he created many works about overpopulation in the early Sixties already. This haunted him, it being an unstoppable mechanism. He was very down to earth, engaging in the most important topics of this 20th century… but, in a very mystical way at the same time, showcasing the truth and fears in a deep manner, showing off the horrific paths this all could take. 

D: While a young boy, H.R. Giger states that his angst during the Second World War contributed towards his art. Has he ever told you of any particular stories or experiences that had a lasting impact on him?

C: There were two periods that fed his fears.

The first was this war. He was born in 1940, so it had just begun. I stand with Stanislav Grof’s theory (he is a good friend of ours and is now 93 years old, still very sharp — a psychiatrist who worked during décennie with non-ordinary states of consciousness, starting with LSD. Hansruedi and Stan had a very special friendship.) So he says that whatever happens when you're in your mother’s belly is correlated to your fears. When Hansruedi’s mum Melly was pregnant with him, of course she witnessed a lot, noticing about the moves of Nazi Germany. It’s clear that this had a strong effect on him, on Hans Ruedi. 

Left image: H.R. Giger sitting in front of “Birth Machine” sculpture, installed in front of the H.R. Giger Museum. Photo: Mia Bonzanigo | Right image: “Birth Machine” painting, 1967. Photo: Gail

This imprint might have gotten much mm stronger in the following years of war, when the mother lived through these horrors and the child experienced it through her. 
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They often spent weeks in their chalet called Foppa, above Flims. Hans Ruedi’s family escaped by foot, but at that time, as he was very young, the snow was up to his knees. They had to walk a very long way. His family didn't know how the war would develop and what would happen following a German Nazis invasion. This constant fear, that something would happen, lasted until the war was finally over. 
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The other side of the coin, his other influence was after the war, as afterwards, American soldiers came and stationed very close to his home in Chur. He saw pictures of Salvador Dalí for the first time, the “Belle et la Bete” (Beauty and the Beast), and the Egyptian mummy at the Rhaetian museum in Chur. These were very important parts in his early life that had influenced him later on.

H.R. Giger with Salvador Dalí at the artist's home in Cadaqués, 1975.

D: H.R. Giger said that his art originates from his nightmares and fears, by painting these subjects he was facing these anxieties. Was there any other way that he used in order to cope with these anxieties?

C: He always kept diaries during his whole life where he could articulate his fears and dreams, but especially he painted the things that haunted him. He always said that if he hadn't painted, and hadn't been able to express himself by that, he would have become a patient in the psychiatry.

H.R. Giger painting in his studio. Sony Pictures Classics/Courtesy Everett Collection

D: H.R. Giger stated that he does not believe in the afterlife however, you believe in reincarnation. Following his death has this impacted your outlook?

C: Of course, you only know when you are gone. But, Hansruedi often talked about his out-of-body experience. He knew that there was something more. Also, in his later life, he was not so certain about his views about this. We should not forget that he read, since his thirties or even before, a lot of mystical books, from Eliphas, Lévy, Annie Besant, Blavatsky, to Gurdjieff and others. There the «worlds beyond» are very present as well. And, then… look at Hansruedi’s works – they say more than spoken statements.

Left image outside of the H.R. Giger Museum Château St. Germain. Photo: Andy Davies, Source: Instagram | Right image inside of H.R. Giger Bar Fribourg Tourism. Courtesy of H.R. Giger

D: I had the opportunity to visit the H.R. Giger Museum in Gruyere and was fascinated by the space, especially that H.R. Giger's art is futuristic while the building is a chateau from the 13th century. Can you please tell me more about the space and future plans of the self running museum - especially as you celebrated the 20th-year anniversary of the H.R. Giger Museum in June 2023?

C: We are focused on continuing the exhibitions program, rotating twice a year, and building on H.R. Giger’s legacy. We also created a Foundation, which was the most important thing to me, and realised it in the safest way possible with the help of our lawyers - it had many revisions. 

D: Watching the "Dark Star" documentary, I realised that H.R. Giger had a vast collection of books in his home and studio. Were books a source of inspiration through knowledge and subject matter early on or an activity during his later years after he stopped painting? If so, what were some of his favourite books - also any of his in particular?

C:  Four years before Hans Ruedi's death, he suffered a stroke, which left him unable to read. But, yes, again, he was an eager reader. He read almost everything. Quite bright books. And he had an immense knowledge of art.  
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Two of his favourite books were by Gustav Meyrink: “The Golem” and “The Angel of the West Window”. For a long time he read them almost every year. He was interested in alchemical works and loved “The Da Vinci Code” by Dan Brown and also books by Böcklin. Again, he was extremely well-read.