|Giger's N.Y. City XVI|
a) After realising that Giger payed homage to Picasso's Guernica through Anima Mia. I looked at NY City XVI, and on 16th of February 2016 slowly became reminded of Pollock's early paintings that I had seen at an exhibition in London and then took a look at the work "Pasiphae", sensed that it connected with Giger's work and then suddenly began to notice similarity in some of the details.
Giger created his own kaleidoscopic re-interpretation of Jackson Pollock's largest painting "Pasiphae" for his painting NY City XVI, switching around and merging elements of the various shapes and squiggles it with his impressions of New York architecture, making what seems like another abandoned strange alien city. Jackson Pollock's Pasiphae hangs in the Museum Of Modern Art in New York.
Museum of Modern Art,
|Giger's N.Y. City XVI and Pasiphae|
b) Metropolitan Museum of Art:"Finished just after Pollock's first exhibition in 1943 at Peggy Guggenheim's New York gallery, Art of This Century, Pasiphaë is the largest of the painter's mythologically themed pictures of the mid-1940s. Originally named Moby Dick, the picture was retitled before it was exhibited in 1944 when James Johnson Sweeney, a curator at the Museum of Modern Art, related the story of the Cretan princess Pasiphaë who gave birth to the half-man, half-bull Minotaur. The Minotaur had been a favorite motif of Picasso and of the Surrealists (Minotaure had been the name of their literary magazine from 1933 to 1939, for which Picasso had designed the first cover).
Here Pollock incorporates two sentinel-like standing figures at the left and right and a prostrate figure at center. Pollock weaves these figures into a complex field of arcane symbols and free-form abstraction, his own novel interpretation of the Surrealist practice of automatism, wherein the artist's unconscious is used to organize composition."
c) Comparative details
|various hands and a curl|
|curved shape in Giger's painting is a combination of two forms in Pollock's work|