Book Inclusions / Features
LCC Postgraduate Design
The consolidation of the diverse stimuli of sound and vision of the synaesthetic Isaac Newton. Through the investigation of a square inspired the question has musical variation since the 18th century affected a synaesthetics view of music?
I have applied Isaac Newton's musical colour scale to two very diverse compositions, Handel’s La Rejouissance from the 1700s and Jimi Hendrix’s Purple Haze from the 1960s.
Then comparison of Isaac Newton’s and Steve Zieverink’s colour and sound theories using Jimi Hendrix’s Purple Haze was undertaken.
When Artists Make Interactive Works of Art for Children: The Contemporary Arts Center’s UnMuseum®, Lisa Buck
BIB Design, Associations With Tone & Colour
Synaesthesia as a Model for Dynamic Media
Press / Articles
Points of Departure
Three artists wonder as they wander in their work
BY MATT MORRIS · JANUARY 6TH, 2010 · VISUAL ART
"To fully utilize Zieverink’s experimental classroom requires time, reading and listening. Those who look only to Zieverink’s aesthetics will find an environment like those of Conceptual artists Ilya and Emilia Kabakov. Central to his installation is a Living Station — a rugged self-sufficient shelter that he hopes to relocate to the outdoors after the exhibition. Inside and out, Zieverink provides reading materials, a documentary, a listening station and a table of preparatory work that preceded the barn he built."
January 19, 2007 | By Alan G. Artner, Tribune art critic
"The look of maps and mapping systems is big in contemporary art. This is probably less because of the romance of exploration than an impersonal look capable of generating the emotionally cool abstract paintings now in favor. Whichever, Steve Zieverink's abstract paintings at the Byron Roche Gallery have had recourse to satellite composite sketches of aerial city maps that momentarily distract from the elaborate creation process."
Steve Zieverink: New Paintings
"In the geometric abstractions of Steve Zieverink: New Paintings, multiple overlays of gridlike lines, and thicker, freer linear elements traversing the image this way and that, infuse these road maps of orderly regimentation with depth and movement. In #12 (oil on canvas: 25 x 25 in.: 2006), thirty-three white stripes in vertical, and forty-five red stripes at a diagonal, establish a tense grid whose intersection points vibrate with contained energy on the marine-blue background. Relieving that tension are further, less perceptible layouts of vertical and diagonal beneath, growing less distinct with each layer. It is an abstractionist's evocation of atmospheric perspective -- the suggestion of distance effected through diminishing clarity -- and here, lurking behind the frontal layer established by the initial grid, draws the eye into suggestive depths of murky, deep-sea presence."