Science Fiction & Fantasy



Artist Spotlight

Artist Showcase: Marius “Noistromo” Siergiejew

Marius “Noistromo” Siergiejew is a graphic designer, illustrator, and concept artist living in Cracow, Poland. He has worked on projects for clients in the comics, games, advertising, and music industries, including X-Men cover art for Marvel Publications. His work has been published by Lightspeed Magazine, Ballistic Publishing, Sirens Call Publications, and Bloody Disgusting. His website is


Do you ever use images directly from your dreams?

Usually, I forget my dreams quite quickly after I wake up, so sadly I don’t. It would be great if it were possible to record our dreams. Maybe there are some techniques to train the memory to better remember dreams.

What monster frightened you the most as a child?

Strange, but as I remember, it was aliens. Not xenomorphs, but grey aliens. For example, I remember when I watched Close Encounters of the Third Kind, it was scary for me (especially that moment at the end when the aliens come out from the spaceship). Also, E.T. wasn’t a nice movie for me. Cenobites, vampires, werewolves, etc., weren’t scary at all.

The blue that you use in many of your works, including Transhuman 2.0, seems very specific. Like the blue lights you see on an airplane, a PlayStation 2, or e-cigarettes. It seems to suggest cool, exciting new technologies that we have loved over the decades. Was your use of this blue intentional?

Yes, it’s intentional, as you described. It’s a specific blue, suggesting future, fresh, technology, electronic, cybernetic. Science fiction blue, not so heavy, like the #0000FF value of blue, but light, like clean sky, air, lasers, FTL (faster than light), traveling (like the blurred stars in Star Wars when the Millennium Falcon jumps to hyperspeed). It also reminds me of fresh snow and a sunny winter day, when it’s cold but bright, when it’s fresh, cold air. And also New Year’s Day, when everything is rebooting: the new year, new decisions, new period of time, new beginning. The feeling when we leave all the past behind us and cross the border to something new. Also, somehow this light blue reminds me of cold steel, chrome, something bright, new, fresh out of a box, from the production line of some fully automated factory. Just visions of the future encoded in color. Good to know that these feelings and visions are visible not only for me.

Tell us about the term bio-cyber-mechanical. What is its relationship with the future? Do you think that future technologies will look like this? It seems like industrial design, with the brightness and minimalism of Apple and Google, is creating a very different look for the future of technology.

As far as I know, BCM (Bio-Cyber-Mechanical) was an idea I came up with to give a name to a sub-genre of bio-mechanical imagery (although it’s possible someone somewhere on the planet came up with this name earlier than I did). As we know, bio-mechanical is a visual connection of biological, living forms with machines. And that is great, usually good-looking, you know what I mean. But when I tried to describe my artwork, I found out that bio-mech wasn’t quite right to describe this, because there was much more electronic stuff in my work than mechanical. I know that electronic machines could be also described as “mechanical,” but as I focus only on the visual side, this description wasn’t precise enough. So I added “cyber” between machine and “flesh.” The future represented by these forms could look quite interesting but this amount of detail is impractical and could raise the price of goods (and since cost is a very important element of production, less detail and elements could make more sense). Of course, trends change. Now we have minimalism, but who knows what the future will show. I wish to envision how the world and technology will look in the next 100-200 years. Will it be minimalist, or maybe over-detailed?

Do you know if H.R. Giger has ever seen your work? Your work appears to be a very proud descendent of Giger’s work.

I don’t know, but it would be great to get some comment, opinion, critique, or advice from him. He’s a great master for me, but I try to develop my own style. Usually people see in my artworks some associations with Mr. Giger. I can’t deny this. However, I don’t do it consciously.

The figure in Transhuman 2.0 looks to me like a robot version of Rutger Hauer, Dolph Lundgren, and David Bowie. Were you thinking of any real person when you created Transhuman 2.0?

No real person. I wanted to create an absolutely unreal person, just an icon, an icon of a human, but already without any humanity inside. Perfect human face, without any defects, described by digital algorithms, not by nature. A being who is only a ghost of a human biological past.

If you could have a robot body like the robots in your artwork, would you give up your human body? Why?

I’m not sure there could ever exactly be robots like in the artworks I have created, but would I give up my human body . . . maybe yes. Not now. I think in about thirty years from now. To evolve, to change an imperfect body into something better. If we give up the body but not the mind, perhaps we will no longer be fully human. However, what describes our humanity? Our bodies or who we are, our minds, our personalities? Short answer: Yes, but only when my biological body will not function well anymore.

What is your dream project?

I think it could be to work as a designer on a science fiction movie in some Hollywood studio. And to have people like the movie.

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Henry Lien

Henry Lien

Henry Lien is an art dealer and proprietor of The Glass Garage Gallery in Los Angeles. He represents artists from North America, South America, Europe, and Asia. His artists have appeared in ARTnews, Art in America, Juxtapoz, The Huffington Post, and Time Magazine, and been collected by and exhibited in institutions and museums around the world. Henry has also served as the President of the West Hollywood Fine Art Dealers’ Association and a Board Member of the West Hollywood Avenues of Art and Design. Henry also has extensive experience as an attorney and teaches at UCLA Extension. In addition, Henry is a speculative fiction writer. He is a Clarion West 2012 graduate, has sold his work to Asimov’s, Analog, Fantasy & Science Fiction, Lady Churchill’s Rosebud Wristlet, and Interfictions, and has been nominated for a Nebula. He is originally from Taiwan. Visit his author website at