Zieman’s single-channel video art works and multi-channel installations have been shown internationally.
He also shoots film, electronic cinema, and composes music.
He directs, and edits; including documentaries and music videos.
He commissioned a Video Synthesizer, built to his specs; later he worked with Nam June Paik, Dara Birnbaum, and other notable video artists.
He pursued his personal art-making and music composition, while in demand as an independent Director & Editor.
A gentle meditation on “the difficulties challenging traditional beauty in the post-modern era”, this immersive video installation strategically overwhelms the viewer’s eye from 3 sides, filling their peripheral vision.
There is no way to experience the impact of this work, without wearing 3-D glasses. Every frame of the program is composed featuring depth perception; each has a separate left eye and right eye file. Viewers put on the 3D glasses and are transported in a visceral way.
MOUSEYFESTO (2015) (HD, Stereo) Exhibited as a sculpture, featuring a video monitor inside a cork plinth, also exhibited as a single channel HD.
John Zieman shot & edited this 4K video art piece, toward the end of Covid isolation. Lensed entirely in the East End of Long Island, using the Sony FX6 electronic cinema camera.
The music is by composer John Petersen, whose meditative sound work can be explored at experiencejourneybox.com.
Please don’t watch it on your phone or tiny screen. Watch it on your biggest screen.
To see it in 4K, you need a 4K resolution monitor, CLICK ON THE GEAR symbol on the bottom right, set it to 4K, then CLICK THE FULL SCREEN button next to it (with four arrows).
The second work in Zieman’s TIME SUITE series, “First Dream” presents a floating illusory world, featuring the artist’s text literally projected upon the bodies of the subjects, both human and otherworldly.
Zieman directed & edited this music video in ’81 for Klaus Nomi, a performance artist with an unusual operatic-style soprano voice, well-loved in Berlin and Downtown NYC, still revered as a cult legend today.
Zieman directed this for Def Jam label in 1989. Though times would soon change, during production he had to battle with the band — they suspected he was making them look “too Slick” and styled. Unforgettably, there were guns in the edit room. Lensed by Manfred Reiff.
