This post is a discussion version of my article of the same title, published on Steemit here. Have tried my best to format the links and images correctly but you may want to read the Steemit version to be able to easily scroll through the screenshots.

Giger's Spell IV

Giger with Occult objects

My previous post in this minor series on HR Giger and Pizzagate is available here, and is recommended reading before diving into the significance of his occult ties. Such influences are meaningful and relevant to Pizzagate thanks to Giger's clearly deliberate use of Pizzagate code words decades before they caused a firestorm via the Podesta Emails.

Giger's Tarot

Some readers may already be familiar with Giger's involvement in the creation of a set of Tarot cards titled The Baphomet Tarot, produced with the Swiss occultist, Akron. The title of the series comes as little surprise, given the centrality of Levi's Baphomet image in of Giger's occult works.

Akron in 2017

In researching Giger's work with Akron, I stumbled upon a lengthy interview of Giger by the host of an occult-themed website, "GlennFWright." During the interview, Giger at first professes very little knowledge of Tarot. Whether that response was truthful is a matter for speculation. Giger also discusses his one-time fascination with the Baphomet image.

"jk: What about Baphomet? That was obviously an image you liked, but why did you use it, was it because it was an image you liked, or because it represented some belief?

Giger: I liked it as an image.

jk: But Akron has turned it into a religion.

Giger: You know, I did that back when I was doing my Spell paintings, 1973-’76 and I was fascinated by this Baphomet image, and so this was long before I met Akron, who I’ve known for about twelve years or so. Maybe ’88 or so. I mean, it has absolutely nothing to do with his ideas."

Giger repeatedly makes an effort to separate his work from "Akron's ideas." In accounting for his attraction to Baphomet, Giger also mentions having read Eliphas Levi's book Transcendental Magic. Levi, as discussed later in this article, drew the Baphomet figure on which Giger's images were based.

"jk: So, back to these Baphomet images, did you know that they originated with an occultist named Eliphas Lévi?

Giger: Sure. I read the whole book [Transcendental Magic] at the time.

jk: You did read that?

Giger: It was much earlier.

jk: What influence do you think those occultist writings had on you?

Giger: I don’t know. I can’t tell you. I was fascinated, like everybody, about these magicians, and I was fascinated by Crowley’s drawings and paintings—I got a catalog of an exhibition of his drawings and paintings in London. I was always very interested in his paintings, because I understood that better than his text. His text is very difficult, and it was not translated much at the time.

jk: It’s difficult in English also.

Giger: Yes, I think so. It’s really hard"

Later in the interview, Giger and his interviewer are discussing a specific series of works titled Pump Excursion, painted in the late 1980s.

Image of 'Pump Excursion'

Fascinatingly, Giger confirms that the background in the series is intended to represent Mayan/Aztec pyramids. Going further, the interviewer directly references the ritual sacrifices which took place on such pyramids, including the removal of the heart.

"jk: Do you mean from India—or an American Indian?

Giger: American Indian

jk: So this pyramid in the back is Mayan or Aztec or something?

Giger: Yes.

jk: OK, good. And you may recall our discussion yesterday about the guillotine blade and how that seemed to be the Magician’s tool but this is not mentioned. And in the Taschen text, in the English version, they don’t even mention this image in the background. Akron talks about steps, but not about the pyramid. So you intended this figure to look Mayan?

Giger: Yes.

jk: What’s interesting, and I don’t know if you’re aware of this or thought about this in the context of the choice of this image for this card, but the steps leading up the pyramid remind us of the blood sacrifice, the removal of the heart, and there is the solar aspect of this, the worship and feeding of the Sun. This is also a part of the occult tradition we find in the discussions of the Fool card. Did you know this when Akron chose this image for this card?

Giger: No."

As a reminder, here are depictions of the steps Giger included or referenced in "Pump Excursion," in their ritual/sacrificial use.

This writer previously discussed Mayan/Aztec cannibalism, in relation to Marina Abramovic's trip to Brazil.

In this author's opinion, this Mayan/Aztec reference is far more indicative of experience or awareness of ritual abuse than the inclusion of Levi's Baphomet in Giger's works, or the depiction of Crowley in others.

Giger also created this image in 2009, titled "Caravan (with Martin Schwarz)."

The image includes an eye, what looks like surgeons in surgical garb, blood and organs, a bird, thorns or beaks, and other material. The 'beak' placed on the surgeon's mask is strongly reminiscent of the mask of a 'Plague Doctor.'

Two faces appear to be wearing clown-like masks. Although this is not a clearly occult image, the material has much in common with the accounts of ritual abuse survivors. In this writer's opinion it is much more strongly indicative of victimization, experience or involvement with actual ritual abuse than Giger's other works that focus on spells or typical occult aesthetic.

Giger also describes his creative process as intuitive, stating that he often does not recognize the artwork until it is complete, and does not feel as if he was the one creating the piece:

"jk: Do you not like to tell people what your paintings mean?

Giger: I don’t know what they mean. To me it is sometimes like when I’ve finished them, they were done by someone else. And some things in it, I can say at that time I was doing the painting, I was fascinated about that, or just during the work on the painting, somebody came with something and I just incorporated that into the painting, like a box or a key or whatever."

If this statement is true, then in this writer's opinion, it is highly suggestive that Giger was abused ritually. Whether he also became a perpetrator later in his life is not clear, but at minimum, he appears to have cognitively been able to choose specific symbols that we now know relate to child abuse.

It is a horrible reality that for some, being a victim of this kind of abuse is intertwined with perpetration: in fact, from the absolute earliest ages, many ritual abuse victims are made to kill small animals and participate in torture, or believe that the torture of others is their fault, in order to indoctrinate such victims into a belief that they are evil and culpable for abuse perpetrated against them and others, whether they are or not. The following are examples from the X-Witness testimony of the Dutroux victims. Extra trigger warning on the following three examples:

e.g. One

e.g. Two

e.g. Three

This is the despicable reality we face when we see someone like Podesta and his "alter-ego," Skippy. However, that does not absolve adult perpetrators in any way. It is simply something to keep in mind as we view people involved with these circles: victim and perpetrator are not always clearly defined, and this is absolutely intentional.

The rest of this post will follow in the comments.