Tobler As A Symbol in Giger's Work
Several articles have been written on Tobler's function as a symbol and reflection in most of Giger's early professional works. Nevill Drury, who interviewed Giger in 1985 (Shadowzone # 5), observes the following:
"Li is the prototype for the many ethereal women in his paintings who peer forth from the torment of snakes, needles and stifling bone prisons - to a world beyond. Giger painted Li's body several times with an airbrush and there are several photographs of her posing naked - like a woman of mystery struggling to emerge from the nightmare that has possessed her soul". Drury concludes her article by remarking: "It may be too simplistic to say that Li haunts Giger still, for his life is full of beautiful and exotic women who are fascinated by his art and by his bohemian lifestyle. But there is no doubting that the simultaneous agony and joy of life with Li Tobler established the dynamic of fear and transcendence which is present in many of his paintings".
Many of the female faces that can be seen in Giger's early work are based on Li's face. Arguably the most famous paintings depicting Li (and the only ones doing so explicitly) are two eponymous paintings, that is, Li I and Li II (both 1974), two of Giger's most well-known and recognizable works. Allegedly, Li was shocked when she first saw the painting (Li I) that was supposed to represent her and proceeded to break the frame and tear its fabric. Giger was able to reconstruct the torn painting by use of pins.
Read more about this topic: Li Tobler
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