ZACRON
4 Led Zeppelin Designing for the world’s biggest rock group focused my analytical processes. Here was an opportunity to create, not sound packaging, but audio and visual art in a combined arena. In 1966/7 I had been working on a book called ‘One Line and a Box’ in the studios of the in interaction with the environment using an evolution of symbols and sequences. Each page was built with layers of pierced rotating discs. By rotating each page, participants would engage with permutations of words, colours and pictures. Some employed intersecting spirals that revealed a kinetic animation as an astronaut tumbled in a widening orbit away from the Earth. This rotating book would lay the foundation for Led Zeppelin III in 1970. I felt an immense responsibility to Led Zeppelin; it had to work for them, it had to endure. During the 60’s I had publicly questioned the relevance of traditional formats. I came to realise that exclusive modernism in art education betrays creative freedom. I realised that all created realities and environments are surrealist. I came to redefine infinitely variable concepts of space, scale and my perception of them. I decided to make for Led Zeppelin, an independent space in which some images appeared to move, have their own energy, while others could be moved in real time. The square format became as a theatrical proscenium, The space within could be infinite; the boundary dissolved.
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