inspired by Beksinski Giger alien xenomorph skull

                    
          
          dimensions: 35 x 25 x 6 cm    (on this photo, there is only a fragment of the sculpture)     Title: INCUBATION LINE

I sculpt in clay, dry it, cover with silicone and produce casts using a kind of chemical hardned synthetic mass called P.P.S. (its my own technique) ; it is similar to plastic. Casts are filled in with polyurethane foam so they are very light. From outside casts are made of P.P.S., inside there is a poliurethane foam.



It is obvious that I am inspired by Giger:
Below, I used fragments (that I a little bit modified) of text From Wikipedia, the free encyclopedia
(en.wikipedia.org/wiki/H._R._Gi…)

Hans Rudolf "Ruedi" Giger (/ˈɡiːɡər/ GHEE-gur; German: [ˈɡiːɡər]; 5 February 1940 – 12 May 2014) was a Swiss surrealist painter, whose style was adapted for many media, including record-albums, furniture and tattoo-art.
The Zurich-based artist was best known for airbrush images of humans and machines linked together in a cold 'biomechanical' relationship. Later he abandoned airbrush work for pastels, markers or ink. He was part of the special effects team that won an Academy Award for design work on the film Alien. In Switzerland there are two theme-bars that reflect his interior designs, and his work is on permanent display at the H.R. Giger Museum at Gruyères.
Early life Giger was born in 1940 in Chur, capital city of Graubünden, the largest and easternmost Swiss canton. His father, a pharmacist, viewed art as a "breadless profession" and strongly encouraged him to enter pharmacy, Giger recalled. He moved to Zürich in 1962, where he studied Architecture and industrial design at the School of Applied Arts until 1970.[1]
Career Giger's first success was when H.H. Kunz, co-owner of Switzerland's first poster publishing company, printed and distributed Giger's first posters, beginning in 1969.[2]
Giger's style and thematic execution were influential. He was part of the special effects team that won an Academy Award for Best Achievement in Visual Effects for their design work on the film Alien.[3][4] His design for the Alien was inspired by his painting Necronom IV and earned him an Oscar in 1980. His books of paintings, particularly Necronomicon and Necronomicon II (1985) and the frequent appearance of his art in Omni magazine continued his rise to international prominence.[1] Giger was admitted to the Science Fiction and Fantasy Hall of Fame in 2013.[5][6] He is also well known for artwork on several music recording albums including ELP's Brain Salad Surgery and Deborah Harry's KooKoo.
In 1998 Giger acquired the Château St. Germain in Gruyères, Switzerland, and it now houses the H.R. Giger Museum, a permanent repository of his work.[7]
Personal life Giger had a relationship with Swiss actress Li Tobler until she committed suicide in 1975.[8] Li's image appears in many of his paintings. He married Mia Bonzanigo in 1979; they divorced a year and a half later.
The artist lived and worked in Zürich with his second wife, Carmen Maria Scheifele Giger, who is the Director of the H.R. Giger Museum.[9]
Death On 12 May 2014, Giger died in a hospital in Zürich after having suffered injuries in a fall.[10][11][12][13]
Recognition
In addition to his awards, Giger was recognized by a variety of festivals and institutions. On the one year anniversary of his death, the Museum of Arts and Design in New York City staged the series The Unseen Cinema of HR Giger in May 2015.[14]
Dark Star: H. R. Giger's World, a biographical documentary by Belinda Sallin, debuted 27 September 2014 in Zurich, Switzerland.[15][16]
Style Birth Machine sculpture in Gruyères Giger started with small ink drawings before progressing to oil paintings. For most of his career, Giger had worked predominantly in airbrush, creating monochromatic canvasses depicting surreal, nightmarish dreamscapes. However, he then largely abandoned large airbrush works in favor of works with pastels, markers or ink.[1]
Giger's most distinctive stylistic innovation was that of a representation of human bodies and machines in a cold, interconnected relationship, he described as "biomechanical". His main influences were painters Dado,[17] Ernst Fuchs and Salvador Dalí. He met Salvador Dalí, to whom he was introduced by painter Robert Venosa. Giger was also influenced by the work of the sculptor Stanislas Szukalski, and by the painters Austin Osman Spare and Mati Klarwein.[18] He was also a personal friend of Timothy Leary. Giger studied interior and industrial design at the School of Commercial Art in Zurich (from 1962 to 1965) and made his first paintings as a means of art therapy.[1]
Other works Entrance to Giger Bar in Chur Ibanez H. R. Giger signature bass and guitars
Giger directed a number of films, including Swiss Made (1968), Tagtraum (1973), Giger's Necronomicon (1975) and Giger's Alien (1979).
Giger created furniture designs, particularly the Harkonnen Capo Chair for a film of the novel Dune that was to be directed by Alejandro Jodorowsky. Many years later, David Lynch directed the film, using only rough concepts by Giger. Giger had wished to work with Lynch,[19] as he stated in one of his books that Lynch's film Eraserhead was closer than even Giger's own films to realizing his vision.[1]
Giger applied his biomechanical style to interior design. One "Giger Bar" appeared in Tokyo, but the realization of his designs were a great disappointment to him, since the Japanese organization behind the venture did not wait for his final designs, and instead used Giger's rough preliminary sketches. For that reason; Giger disowned the Tokyo Giger Bar.[20] The two Giger Bars in his native Switzerland (in Gruyères and Chur), however, were built under Giger's close supervision and they accurately reflect his original concepts. At The Limelight in Manhattan, Giger's artwork was licensed to decorate the VIP room, the uppermost chapel of the landmarked church, but it was never intended to be a permanent installation and bore no similarity to the Giger Bars in Switzerland. The arrangement was terminated after two years when the Limelight closed.[21] As of 2009 only the two authentic Swiss Giger Bars remain.[citation needed]
Giger's art has greatly influenced tattooists and fetishists worldwide. Under a licensing deal Ibanez guitars released an H. R. Giger signature series: the Ibanez ICHRG2, an Ibanez Iceman, features "NY City VI", the Ibanez RGTHRG1 has "NY City XI" printed on it, the S Series SHRG1Z has a metal-coated engraving of "Biomechanical Matrix" on it, and a 4-string SRX bass, SRXHRG1, has "N.Y. City X" on it.[1]
Giger is often referred to in popular culture, especially in science fiction and cyberpunk. William Gibson (who wrote an early script for Alien 3) seems particularly fascinated: A minor character in Virtual Light, Lowell, is described as having New York XXIV tattooed across his back, and in Idoru a secondary character, Yamazaki, describes the buildings of nanotech Japan as Giger-esque.[citation needed]
Films
    Dune (designs for unproduced Alejandro Jodorowsky adaptation of the Frank Herbert novel; the movie Dune was later made in an adaptation by David Lynch.)[22]
    Alien (designed, among other things, the Alien creature, "The Derelict" and the "Space Jockey")[23]
    Aliens (credited for the creation of the creature only)
    Alien 3 (designed the dog-like Alien bodyshape, plus a number of unused concepts, many mentioned on the special features disc of Alien 3, despite not being credited in the movie theater version)
    Alien: Resurrection (credited for the creation of the creature only)
    Poltergeist II: The Other Side
    Killer Condom
    Species (designed Sil, and the Ghost Train in a dream sequence)
    Batman Forever (designed radically different envisioning of the Batmobile; design was not used in the film)[24]
    Future-Kill (designed artwork for the movie poster)
    Tokyo: The Last Megalopolis (creature designs)[25]
    Prometheus (the film includes "The Derelict" spacecraft and the "Space Jockey" designs from the first Alien film, as well as a "Temple" design from the failed Jodorowsky Dune project and original extraterrestrial murals created exclusively for Prometheus, based in conceptual art from Alien. Unlike Alien: Resurrection, the Prometheus film credited H. R. Giger with the original designs).[26]
Interior decoration Giger Bars in Switzerland's Chur and Gruyères Maison d'Ailleurs (House of Elsewhere) in Yverdon-les-Bains Video games Dark Seed and its sequel, Dark Seed II, both adventure games for the Amiga, Macintosh, and PC, were developed by Cyberdreams and the only two directly based on Giger's input.[29]

Below, I used fragments (that I a little bit modified) of text From Wikipedia, the free encyclopedia
(en.wikipedia.org/wiki/Skull)

The skull is a bony structure that forms the head of the skeleton in most vertebrates. It supports the structures of the face and provides a protective cavity for the brain.[1] The skull is composed of two parts: the cranium and the mandible. In the human these two parts are the neurocranium and the viscerocranium or facial skeleton that includes the mandible as its largest bone. The skull forms the anterior most portion of the skeleton and is a product of cephalisation—housing the brain, and several sensory structures such as the eyes, ears, nose, and mouth.[2] In the human these sensory structures are part of the facial skeleton.
Functions of the skull include protection of the brain, fixing the distance between the eyes to allow stereoscopic vision, and fixing the position of the ears to enable sound localisation of the direction and distance of sounds. In some animals such as horned ungulates, the skull also has a defensive function by providing the mount (on the frontal bone) for the horns.
The English word "skull" is probably derived from Old Norse "skalli" meaning bald, while the Latin word cranium comes from the Greek root κρανίον (kranion).The skull is made up of a number of fused flat bones, and contains many foramina and processes, and several cavities or sinuses.
Structure: For details and the constituent bones, see neurocranium and viscerocranium. Skull in situ Human skull from the front Side bones of skull The human skull is the bony structure that forms the head in the human skeleton. It supports the structures of the face and forms a cavity for the brain. Like the skulls of other vertebrates, it protects the brain from injury.
The skull consists of two parts, of different embryological origin—the neurocranium and the facial skeleton (also called the viscerocranium). The neurocranium (or braincase) forms the protective cranial cavity that surrounds and houses the brain and brainstem. The facial skeleton is formed by the bones supporting the face. The neurocranium includes the mandible.
Bones Except for the mandible, all of the bones of the skull are joined together by sutures—synarthrodial (immovable) joints formed by bony ossification, with Sharpey's fibres permitting some flexibility. Sometimes there can be extra bone pieces within the suture known as wormian bones or sutural bones.
The human skull is generally considered to consist of twenty-two bones — eight cranial bones and fourteen facial skeleton bones. In the neurocranium these are the occipital bone, two temporal bones, two parietal bones, the sphenoid, ethmoid and frontal bones.
The bones of the facial skeleton are the vomer, two nasal conchae, two nasal bones, two maxilla, the mandible, two palatine bones, two zygomatic bones, and two lacrimal bones.
Some sources count a paired bone as one, or the maxilla as having two bones (as its parts); some sources include the hyoid bone or the three ossicles of the middle ear but the overall general consensus of the number of bones in the human skull is the stated twenty-two.
Cavities and foramina The skull also contains sinus cavities and numerous foramina. The sinuses are lined with respiratory epithelium. Their known functions are the lessening of the weight of the skull, the aiding of resonance to the voice and the warming and moistening of the air drawn through the nasal cavity. The foramina are openings in the skull. The largest of these is the foramen magnum that allows the passage of the spinal cord as well as nerves and blood vessels.
Processes The many processes of the skull include the mastoid process and the zygomatic process. Development Skull of a new-born child from the side The skull is a complex structure; its bones are formed both by intramembranous and endochondral ossification. The skull roof bones, comprising the bones of the facial skeleton and the sides and roof of the neurocranium, are dermal bones formed by intramembranous ossification, though the temporal bones are formed by endochondral ossification. The endocranium, the bones supporting the brain (the occipital, sphenoid, and ethmoid) are largely formed by endochondral ossification. Thus frontal and parietal bones are purely membranous.[3] The geometry of the skull base and its fossas: anterior, middle and posterior changes rapidly. The anterior cranial fossa changes especially during the first trimester of pregnancy and skull defects can often develop during this time.[4]
At birth, the human skull is made up of 44 separate bony elements. During development, many of these bony elements gradually fuse together into solid bone (for example, the frontal bone). The bones of the roof of the skull are initially separated by regions of dense connective tissue called fontanelles. There are six fontanelles: one anterior (or frontal), one posterior (or occipital), two sphenoid (or anterolateral), and two mastoid (or posterolateral). At birth these regions are fibrous and moveable, necessary for birth and later growth. This growth can put a large amount of tension on the "obstetrical hinge", which is where the squamous and lateral parts of the occipital bone meet. A possible complication of this tension is rupture of the great cerebral vein. As growth and ossification progress, the connective tissue of the fontanelles is invaded and replaced by bone creating sutures. The five sutures are the two squamous sutures, one coronal, one lambdoid, and one sagittal suture. The posterior fontanelle usually closes by eight weeks, but the anterior fontanel can remain open up to eighteen months. The anterior fontanelle is located at the junction of the frontal and parietal bones; it is a "soft spot" on a baby's forehead. Careful observation will show that you can count a baby's heart rate by observing the pulse pulsing softly through the anterior fontanelle.
The skull in the neonate is large in proportion to other parts of the body. The facial skeleton is one seventh of the size of the calvaria. (In the adult it is half the size). The base of the skull is short and narrow, though the inner ear is almost adult size.[5]
Clinical significance Craniosynostosis is a condition in which one or more of the fibrous sutures in an infant skull prematurely fuses,[6] and changes the growth pattern of the skull.[7] Because the skull cannot expand perpendicular to the fused suture, it grows more in the parallel direction.[7] Sometimes the resulting growth pattern provides the necessary space for the growing brain, but results in an abnormal head shape and abnormal facial features.[7] In cases in which the compensation does not effectively provide enough space for the growing brain, craniosynostosis results in increased intracranial pressure leading possibly to visual impairment, sleeping impairment, eating difficulties, or an impairment of mental development.[8]
Injuries and treatment Injuries to the brain can be life-threatening. Normally the skull protects the brain from damage through its hard unyieldingness; the skull is one of the least deformable structures found in nature with it needing the force of about 1 ton[clarification needed] to reduce the diameter of the skull by 1 cm.[9] In some cases, however, of head injury, there can be raised intracranial pressure through mechanisms such as a subdural haematoma. In these cases the raised intracranial pressure can cause herniation of the brain out of the foramen magnum ("coning") because there is no space for the brain to expand; this can result in significant brain damage or death unless an urgent operation is performed to relieve the pressure. This is why patients with concussion must be watched extremely carefully.
Dating back to Neolithic times, a skull operation called trepanning was sometimes performed. This involved drilling a burr hole in the cranium. Examination of skulls from this period reveals that the patients sometimes survived for many years afterward. It seems likely that trepanning was also performed purely for ritualistic or religious reasons. Nowadays this procedure is still used but is normally called a craniectomy.
Reconstruction In March 2013, for the first time in history, researchers replaced 75 percent of an injured patient's skull with a precision, 3D-printed polymer implant.[10] In March 2014, it was announced that a similar skull replacement had been performed with success on a Dutch woman in late 2013. She was suffering from hyperostosis, which had significantly increased the thickness of her skull and begun compressing her brain. In a 23-hour operation, her cranium was replaced with a plastic one produced by an Australian company.[11]
Transgender procedures Surgical alteration of sexually dimorphic skull features may be carried out as a part of facial feminization surgery, a set of reconstructive surgical procedures that can alter male facial features to bring them closer in shape and size to typical female facial features.[12][13] These procedures can be an important part of the treatment of transgender people for gender dysphoria.[14][15]
Society and culture Artificial cranial deformation is a largely historical practice of some cultures. Cords and wooden boards would be used to apply pressure to an infant's skull and alter its shape, sometimes quite significantly. This procedure would begin just after birth and would be carried on for several years.
Osteology Like the face, the skull and teeth can also indicate a person's life history and origin. Forensic scientists and archaeologists use metric and nonmetric traits to estimate what the bearer of the skull looked like. When a significant amount of bones are found, such as at Spitalfields in the UK and Jōmon shell mounds in Japan, osteologists can use traits, such as the proportions of length, height and width, to know the relationships of the population of the study with other living or extinct populations.
The German physician Franz Joseph Gall in around 1800 formulated the theory of phrenology, which attempted to show that specific features of the skull are associated with certain personality traits or intellectual capabilities of its owner. His theory is now considered to be pseudoscientific. Sexual dimorphism Main article: Sexual dimorphism
In the mid-nineteenth century, anthropologists found it crucial to distinguish between male and female skulls. An anthropologist of the time, James McGrigor Allan, argued that the female brain was similar to that of an animal.[16] This allowed anthropologists to declare that women were in fact more emotional and less rational than men. McGrigor then concluded that women’s brains were more analogous to infants, thus deeming them inferior at the time.[17] To further these claims of female inferiority and silence the feminists of the time, other anthropologists joined in on the studies of the female skull. These cranial measurements are the basis of what is known as craniology. These cranial measurements were also used to draw a connection between women and black people.[17]
Research has shown that while in early life there is little difference between male and female skulls, in adulthood male skulls tend to be larger and more robust than female skulls, which are lighter and smaller, with a cranial capacity about 10 percent less than that of the male.[18] However, later studies show that women's skulls are slightly thicker and thus men may be more susceptible to head injury than women.[19][20]
Male skulls can have more prominent supraorbital ridges, a more prominent glabella, and more prominent temporal lines. Female skulls generally have rounder orbits, and narrower jaws. Male skulls on average have larger, broader palates, squarer orbits, larger mastoid processes, larger sinuses, and larger occipital condyles than those of females. Male mandibles typically have squarer chins and thicker, rougher muscle attachments than female mandibles.