Collograph, 40.6 x 55.9 cm

Collograph, 40.6 x 55.9 cm

Collograph, 40.6 x 55.9 cm

Collograph, 40.6 x 55.9 cm

Collograph, 40.6 x 55.9 cm

68 x 68 cm

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

In 1970 Zacron said 'An album cover is not sound packaging, but an area of visual communication, an opportunity to put visual art and audio art together in a joint arena.' Zacron examined the music industry images in relentless detail in order to create a cover of stature that would endure.

In 1974 the cover was polled amongst the world's top four and overtook a major design created for the Beatles. Zacron's art founded Psychedelic Surrealism and is now recognised worldwide.

Led Zeppelin III and the Rotator (41.7 x 73.8cm) is an archival limited edition print made with lightfast pigment inks on 305gsm acid free etching paper. Your print will be signed and editioned by the artist and design permitting, will be emboss-stamped by Lantern Studios

ARCHIVAL FINE ART - LANTERN STUDIOS

Crystal Theatre explores a manufactured environment, a place in another star system.

The placing of objects in space relates to a ground plane set against a vaporous sky; the surface is perfectly flat - water, ice or glass - the reflections of objects are pristine, appearing to have little weight.

The images in this work are taken from a vast archive of objects combined with digital photography. Some objects are found in every-day life, yet it is their implied scale, the way they are composed, their juxtaposition with a multiplicity of forms, that makes a new believable reality.

In making Crystal Theatre, total emersion in this emerging world is an essential part of the process. There are references to past lives, old values, now preserved in a timeless landscape. Where there once was a mechanism for recognising time, there is now a reference to a face symbolic of day and the sun, yet the landscape is bathed in a constant luminous light.

The figures are androgynous clones; two appear as one in a unified persona. Their presence places you the observer, within the environment. The third figure, encapsulated within an astronomical sphere, symbolises eternal sleep, life held in a suspension. Planetary forms that appear to invade the atmosphere, transform space in a new dimension that implies that seemingly recognisable objects are vast and of cosmic proportions.

Crystal Theatre makes the statement that science-fiction is science fact; that anything you can imagine has an existance somewhere in the endlessness of the cosmos. The work is also inspired by the remote viewing work carried out by Sunstreak in the United States.

Entities held in a state of suspension with a highly tensile control are pictorially very different to work carried out for Led Zeppelin, yet there are elements in the graphic control that existed in the Led Zeppelin III rock album cover, (now polled one of the most successeful cover artworks in the world).

The sophistication of Zacron`s art may have been less understood in 1970; however in the light of the artist`s current productions, it is evident that these works are carving a powerfull new path in the manipulation of visual images.

Zacron is a major British artist who combines digital disciplines with both traditional and progressive techniques to produce fine art archival edition prints. Lantern Studios at Breckland Print produces the finest digital fine art in the country.

Produced as a world limited edition of 100 prints. Each print is 80.8 x 108.62 cm and emboss-stamped to certify that it is fully archival and produced by Lantern Studios.

note : this comment received from a fan and Zacron collector who recently purchased this print : "The Crystal Theatre is a marvel. How do you do it? The more one looks at it the more every detail is kind of perfect. At first one is half blinded by the sheer crystallinity of it all; then one's eyes settle down and discern all these beautiful shapes, colours and entities all in harmonic relation each to each. Really very beautiful indeed."

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

`Reflections of Paris` is an archival fine art print created and printed by Zacron at Lantern Studios, part of a series of works inspired by both British and European locations. Zacron, whose elaborate and complex images have been repeatedly shown with work by Sir Peter Blake, has made an astonishing collection of images that explore subjects in a way that is entirely new.

At a time when Blake was assembling his toy shop window (now in Tate Britain), Zacron made `A window on London`; this elaborate collage-painting incorporated a real window with layered images and objects. The work was exhibited at the Royal Academy and purchased by Jimmy Page of Led Zeppelin, who admired Zacron`s work.

`Reflections of Paris` follows the unique properties seen in the earlier work, in that it uses a window, door and facade as a working format. Images are meticulously composed to describe Paris through layers of time, centering around a period 1880 to 1935. Portrait heads of leading artists, writers and philosophers appear in a lower panel, superimposed over a mural found in the Moulin Rouge. A self-portrait by Vigee Le Brun (1755 -1842) looks out from a window. This artist, who was the toast of the French Royal court, renowned for her beauty, escaped Paris in a public carriage, disguised as a working woman to escape the French Revolution.

Many stories and intrigues are embedded in this work which, while being a tribute to Paris, contains elements of social history, fashion, pathos and the atmosphere of the city streets as they appear today.

Zacron, who has extensively explored many parts of Europe including Italy, the Czech Republic, Sardinia and Holland, combines photography with drawing and painting, collage and printmaking in the studio workshops. The artist`s innovative use of the computer, to combine diverse media processes and imagery, has established its own place on the international art scene.

`Reflections of Paris` is a major work printed with lightfast pigment inks on heavy weight, acid-free rag etching paper, 104.4cm wide by 139.8cm high, is a special limited edition of 25.

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

An archival fine art print hand worked by Zacron and strictly limited to a world edition of 500 plus 50 a/p's - signed by Zacron.

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

An archival fine art print.

Zacron, on the History of the Led Zeppelin III archival print :

"I met Jimmy Page in 1963 while a student at Kingston College of Art. He had become dual lead guitar in a band called the Yardbirds. Page visited my studio and in his parental home we discussed art and music. Page decorated his guitars with experimental designs while I made liquid projections using hot oils and strobes linked to the music of Jimmy Hendrix.

In 1964 I produced an elaborate work called A Window on London, using trompe l'oeil painting and multi-layered collage, panels. The work was dedicated to a retrospective spirit of England. It was keenly noted by Peter Blake and together with a mural depicting Diss in Norfolk, it had a formative effect on Graham Arnold (Brotherhood of the Ruralists) Jimmy Page purchased the painting together with other works.

While a student at the Royal Academy Schools, I produced a rotating book. People could question their reaction to the environment using symbols, words and sequences of interactive colour layers; they became visible when you rotated hidden layers of discs. Some were pierced employing intersecting spirals to make the kinetic illusion that astronaut stumbled away from the earth. Complex collage paintings and experimental graphics laid the foundation for the Led Zeppelin art.

In 1970, I resigned a lectureship at Leeds College of Art in order to concentrate on freelance commissions. Jimmy Page had been hunting for me to do Led Zeppelin's next cover.

The creative work for the cover took a considerable amount of time, a vast amount of research, and an examination of every album cover in every major music store in Central London, also an extensive analysis of my approach to all visual elements. The result was an innovative breakthrough not only in personal terms but in album cover design.

I realised that all created realities are surrealist. I came to redefine infinitely variable concepts of space, scale, and my perception of them via a multi-media process I called Psychedelic Surrealism. My processes became highly fluid and experimental but strengthened by a formal knowledge of drawing, painting, photography, and graphic design.

I realised that an object, symbol, shape or form made an impact as a formal device, an abstract ingredient that contributed to the unity or disunity of the whole. Each component had an optical value, a kinetic value (if it appeared to move) also its scale had a relative value. The subject became secondary to these elements!

It is these formal dynamics that impact on the eye. They were made to work in monochrome, to be repeated and alternated in shop displays, reduced to the size of a watch, or projected in an auditorium on a vast scale.

Led Zeppelin III art, now polled at number four in the world, is available as a fully archival limited world edition print using lightfast pigment inks on 305gsm German etching paper, neutral pH and acid free, calibrated to exactly match the remastered file."

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

An archival fine art print, 68 x 88.2 cm

concept work as a tribute to Eric Clapton

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Sir Peter Blake, friend with Zacron

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Zacron, on the Ropewalker - Behind the Mask :

"Ropewalker evolved as a result of four previous works, Hypnotic, Lantern Fantasia, Transient City, Black and White Boogie. Previously, forms were assembled to make an independent space, while implying that the selected area could be part of an extended environment beyond the format. Hypnotic is a Pop Art hybrid, at home with the compelling emblems of Peter Max, Joe Tilson. Lantern Fantasia explores a confection of kitch, light and magic. Black and White Boogie begins to make order from the apparently incidental. Beneath the incongruous yet universalimages, lies a formalised order.

Ropewalker sets out to constrain images, objects, pictorial devices,photography to make a controlled event. The sum total of its parts.

The incongruous in diametric apposition. The pound of lead, weighed with a pound of feathers principal is applied as hard meets soft, sharp meets diffused. Objects are included as solid entities and transported via a 16.2 mega pixel digital photographic process that renders pixels invisible when required.

I carry photographic equipment at all times, and have done so since 1970. Making images becomes a way of learning, filing them in a 50 year archive tears preconceptions apart. Face, mask, identity, schizophrenia - deciding where a specific image is stored focuses the mind.

The term Ropewalker has an Native American connotation. Ropewalker is conceived as an entity, a state of mind or a pathway. The astrological chart of Leonardo Da Vinci, Nude Descending the Stairs by Marcel Deschamps, refer to the visual arts, while evoking something not easily digested. The central profile in the chieftain's head-dress belongs to Pablo Picasso. How did he perceive himself?

There are references to the inner world of subliminal ropewalking (the sleeping man). The diabolo symbolises an interface between two worlds, the inner to the outer, the conscious to the subconscious, a transition from birth to death to birth, from an unmeasurable, unknowable origin to a point of infinity that through the diabolo will instantly expand.

The profile of John Lennon is set against a clock that without hands has lost all meaning, like an ancient forgotten symbol that exudes energy, touches the cosmic. The painting palette in Lennon's gaze was used by an ancient Mayan painter, it carries astronomical symbols. A universe both in balance and division, central to the concept evoqued by the title Ropewalker.

The talismans of the yin and the yan, cryptic references to the coiled snake, the Egyptian hawk, the first moment of flight, experiences of speed beyond endurance, are elements to be unravelled and interpreted by the viewer. The colour while being interactive, sometimes symbolic, is emotional, subjective.

Ropewalker is printed using lightfast pigment inks on 305gsm German etching paper neutral pH and acid-free, calibrated to exactly match the remastered file."

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.

Size 68 x 88.2 cm

Zacron tells the story behind the evolution of Transient City :

"Transient City began as a small line drawing, an independent structure about internal and external space. The use of line excited me as it could mark a boundary, create the illusion of a three-dimensional form, while at the same time make low relief or two-dimensional shapes.

I used an electrostatic scan and capy machine to duplicate shapes, while reducing and enlarging. Sheets of forms and shapes were amassed to form a visual library. The drawing now became more elaborate by means of precise collage. The addition of pointillism and further line drawing developed the surfaces. Photostat images from ephemera, concentric circles, mesh printed on an etching press and geometric structures printed onto acetate were then collaged and overlaid to develop and control the growing complexity.

The composition remained black and white modified by optical tones. I sensed a kinetic quality emerging, that some shapes appeared to be animated as if gliding slowly across the surface; it gave a sense of animation. The work became a hybrid of my Led Zeppelin rock album cover and inherited the values that drove that production. A vastness and minuteness of scale existed in the work. Some forms appeared to move across, or be interrupted by the boundary, while still being part of a contained experience. The Led Zeppelin III album had been a breakthrough but now, after considerable research, the work process was still developing.

I was invited to art-direct Graphics Magazine and decided to use the work as a symbol of graphic freedom and the use of multi-media processes, for the front cover. Water colour and lightfast inks, dry media and airbrush were now added to build up colour in a monochromatic environment. The top section of the work was airbrushed with opaque white to make a backdrop for the title, number, date and price. The title's type face was presented on an acetate overlay in black in a pre-computer studio.

In 2003 I decided to master the computer as a graphic and fine art media. I met Brad Faine who had worked with Christopher Prater at Kelpra Studios in the 1960s. Brad was running Coriander in Southall, and I was there to discuss the printing of my portrait of Peter Blake. Transient City fell out of a portfolio onto the floor, to an immediate, and postive exclamation from the printer. My instinct that the work could be developed into an archival print was confirmed.

I transported myself back to 1981, 'What would I have done then, if I had had the incredible mobility that computers now bring to the creative process?' I now embarked on a period of three hundred hours work to repair missing collage from archived sheets, restore the upper section of the work, import new elements and literally continue to develop Transient City into an archival edition print.

Transient City is printed using lightfast pigment links on 305gsm German etching paper, neutral pH and acid-free, calibrated to exactly match the remastered file. In all of its long journey, I never anticipated that such an evolving work could be remastered in 2004."

Emboss stamped archival fine art print - Lantern Studios.
Click here for some background on the exceptional quality of our prints.