Alright – so today we’ve got the honor of introducing you to Bill Zima. We think you’ll enjoy our conversation, we’ve shared it below.

Bill, thanks for joining us, excited to have you contributing your stories and insights. Can you talk to us about a project that’s meant a lot to you?

Without a doubt the most meaningful project has been the Morse translations. From a simple process of drawing morse code, and spelling out names, a whole host of creative opportunities are unfolding in front of me and I feel like a chicl rushing from one candy to the next! But how do you define meaningful? Recently BLISS Conversations, and in particular how elements of them can be applied to Conflict Management, have given me pause. I have re-prioritised because I feel mental health is more important than making art. Well, that’s not quite right. I make art and that provides me with some of my mental health balance. BLISS is enabling others to experience mental health in their own right, because of BLISS, and that has a different type of meaning to me, a different important, a differrent urgency. I will always make art, in fact I have art projects and ideas for the next 439 years so no worry there. But people in refugee camps, LGBTQ+ folks, self-harm, children, young people, old people might be able to use BLISS so most of my energies are there. My plan is to go to the Syrian refugee camp in Jordon within the year, as well as having conversations with Catholic’s and Ptrotestant’s that might. cool the moment. You see, humans around the world have close to 5000 negative thoughts a day! That’s 3 a minute, every 20 seconds, banging away in the old gray matter, and each time it’s like a micro dose of bad blood. During the BLISS Experience, there are various physiological reactions and hormonal responses that contribute to the feelings of joy and happiness. These reactions are part of the intricate interplay between our mind and body, and bringing this to people is my mission in life. I reckon BLISS would love to emulate Volvo when they invented the safety belt – it was good for humanity so they provided the knowledge free to all other car manufacturers. BLISS for me is the same but for mental health. On the website www.blissacademy.co.uk for free stuff.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

Bill Zima, a creative renowned for his distinctive Morse Code artistry, presents his latest oeuvre – the ‘Morse Gods’ series. This body of work transcends the bounds of conventional art, challenging the spectator to decode and explore ancient divinities through the lens of Morse Code. Zima’s ‘Morse Gods’ invigorates the contemporary art scene with a fresh fusion of disciplines and offers compelling contributions to the fields of semiotics, semantics, and contemporary art theory.

Zima’s journey with Morse Code began as a way to channel his fascination with counting, a revelation that emerged after his Autism diagnosis at the age of 62. He would draw five dashes, counting to five over and over, sometimes for years, leading him to Morse Code. As a child he discovered five dashes translate to a zero in Morse Code so he drew these ‘zero’s’ for many years, decades actually. This seemingly simple act transformed into a profound artistic exploration. The repetition and consistency inherent in Morse Code were not merely therapeutic for Zima but also became a powerful medium for self-ex- pression and connection.

This foundation laid the groundwork for his revolutionary ‘Morse Gods’ series, where Zima has transmuted the names of the Olympian gods into a Morse Code visual spectacle. The names of these ancient deities – Zeus, Hera, and others – are portrayed through a rhythmic concatenation of Morse Code symbols. These depictions transform the canvas into a coded divine script, inviting the viewer to engage with ancient mythology in an entirely new way.

The semiotic richness of ‘Morse Gods’ positions it firmly within the study of signs and symbols, the realm of semiotics. Each artwork in the series functions as an assemblage of signs to be decoded by the viewer. The Morse Code symbols serve not just as literal translations but as symbols reflecting the deeper essence of the gods they signify.

Zima’s decision to use color in his work adds another layer of semiotic richness. Each deity is denoted by a specific color, with Aphrodite represented in pink, for instance. These hues contribute to the aesthetic allure and provide an additional layer of signification, each color resonating with the characteristics of the depicted deity. The use of Morse Code, a universally recognized language, as an artistic tool imbues each artwork with a web of associations tied to ancient mythology.

Furthermore, Zima’s approach of stacking the Morse Code symbols vertically reflects the depth and layers of the mythology they represent. The structuring of the code impacts the viewer’s interpretation process, prompting a more nuanced engagement with the artwork. This decision, combined with the physicality of the code, offers an enriched, multi-layered semiotic experience, connecting the viewer directly to ancient mythologies through a series of symbolic translations.

Zima’s ‘Morse Gods’ not only embodies the ‘expanded field’ of contemporary art theory but also brings to life the theory of intertextuality. His fusion of Morse Code, mythology, and visual art practices blurs the boundaries between disciplines, symbolizing the intersection of different forms of expression. This integration of diverse fields challenges traditional categorization, emphasizing the transformative potential of non-traditional artistic materials.

The relevance of ‘Morse Gods’ to contemporary art theory is further accentuated by its resonance with the discourse around art’s role in identity construction and personal expression. Zima’s Morse Code artistry stands as a testament to the transformative role of art in the exploration and affirmation of diverse identities.

Moreover, Zima’s work aligns with the contemporary theory of relational aesthetics, suggesting that the interactions and relationships fostered by an artwork form a crucial part of its meaning. Zima encourages viewer participation, fostering a dynamic relationship between the viewer, the artwork, and the artist.

Zima’s ‘Morse Gods’ can be understood as a complex visual poem, which, much like any language, necessitates participa- tion and interpretation from the audience. The meaning is co-constructed between artist and viewer, highlighting the dialogic nature of contemporary art. Herein lies Zima’s art’s dynamic potential: it provides a platform for communication and connection, engaging audiences in a rich symbolic dialogue that draws from ancient narratives and the artist’s personal experience.

Furthermore, Zima’s exploration of different print formats and his upcoming artist residency at Dundee Contemporary
Art add another dimension to his practice. The transformation of Morse Code from flat, two-dimensional forms to tactile, three-dimensional shapes broadens the scope of signification. It deepens the viewer’s interaction with the code, the mythology, and the artist’s personal narrative, prompting a more nuanced reading of the artwork.

Moreover, his expansion into the realm of fashion with ‘Morse Gods’ jewelry, starting with Aphrodite’s necklace, stands as a testament to Zima’s multifaceted creativity. It pushes the boundaries of art and design, creating pieces that are not merely ornamental but carry a deeper meaning and a story. This offers a fresh perspective on how art can be incorporated into daily life, making it more accessible and personal.

In the end, Zima’s ‘Morse Gods’ series is more than just Morse Code symbols on canvas. It’s a conversation, an exploration, and a celebration. It’s a testament to the power of creativity and a window into a mind that sees the world differently. It’s a bridge between the past and the present, between mythology and modernity, between art and the viewer. It’s a journey that invites us all to participate, to interpret, and to connect.

Bill Zima’s ‘Morse Gods’ series invites us to ponder over the nature of art and the limitless possibilities of human creativity. It stands as a profound exploration of how conventional elements can be transformed into innovative forms of self-expression, underlining the transformative power of art in semiotic discourse and in our lives.

As we delve deeper into the 21st century, the discourse on contemporary art continues to be shaped by innovative practices like Zima’s that challenge our perceptions of what art can be and the stories it can tell. With ‘Morse Gods,’ Zima invites us on a journey of exploration and discovery, decoding signs and symbols to connect us with the divine entities of ancient Greece in a manner hitherto unattempted.

In conclusion, Bill Zima’s ‘Morse Gods’ series offers a compelling intersection of personal narrative, mythology, and a historically functional communication system, reshaping these elements into a uniquely impactful visual language. By seamlessly integrating semiotics, semantics, and contemporary art theory into his work, Zima challenges traditional boundaries, explores new material possibilities, and fosters dynamic relationships with viewers.

Let’s talk about resilience next – do you have a story you can share with us?

Well I guess I just wanted to see something. Initially I was interested in quantifying time, and could this concept be explored with a piece of graphite and a piece of paper. I did a few test sketches and realised the task at hand though I didn’t think the first drawing would take three years, drawing every night. I did three of these fuggers. In ‘The Architecture of Time’ complexities of memory, identity, and myth are explored where repetition and mark-making inspire a dialogue between the physical and the spiritual, sort of. Mark making often mimics the cycles of life, where thought has a rhythm and a cadence. The beauty and dynamics of linear relationships suggests a metaphysical connection between the tangible and intangible.
The power of symbols and language evolve into a visual meditation on mortality. Man I guess that late coffee has kicked in. And since we’re on the topic I would like on record to state coffee is key to resilience. I never saw these drawings together until March 2023 and when I walked in the gallery I remember thinking, even though I thought no one would ever see them, I wanted to see them, so I made them. I dunno, what’s the different between being stubborn and resilient? A bit more information might help you visulaise. The backbone of this exhibition is ‘The Sirens’, three large scale drawings.
‘Forty Years’, ‘All of the Time in a Second’, and ‘A Reflection of Time’ contemplate the scale of time.
These installations are based on letter, word or number. ‘Forty Years’ demonstrates the passing of time through the visualization of everyday life. Taking two years to complete this piece was a quantification of life (14,610 days at age 40). ‘Forty Years’ has a vast physical scale using sixteen pieces of Kozuke paper (2 meters high by 1 meter wide). The enormity of a lifetime is captured by writing the days out in a small font (1/4 inch).Through this piece, the fragility of life and the inevitability of mortality is reflected. Notions of memory, identity, and language and how they shape our understanding of life’s cycles are considered. ‘All The Time in a Second’ can be seen as a further exploration of the concept of time.
By writing out one second from .00001 through .99999 the enormity of a second is captured. ‘All The Time in a Second’ expanded the exploration of the idea of scale of time…quantifying time…as an ever-shifting and fleeting concept. ‘A Reflection of Time’ is a continued exploration of the concept of time and with the added complexity regarding the idea of reflection. Writing out one second to the fifth decimal point from .00001 through .99999 in mirror image embraces myth.
The use of a mirror image serves to highlight the power of memory, as it is through our memories that we are able to look back on the past and reflect on our identity. The drawings become symbolic of the cycles of life and allows an exploration of the concept of mortality in a unique way. It serves as a reminder of the fragility of life, or resilience.

For you, what’s the most rewarding aspect of being a creative?

Without a doubt the best thing about creativity is to cross reference with other fields and transfer some knowledge to areas I feel are super important. My life has been dedicated to figuring out why I think the way that I do and years ago created BLISS, where (as another entrepreneur told me “You have disrupted the entire field of gratitude”.

Bill Zima: A Renaissance Mediator Uniting Art, Culture, and Conflict Resolution

In the realm of conflict resolution and mediation, a paarticular individual emerges, bringing a unique blend of expertise, creativity, and cultural insight to the table. Meet Bill Zima, a seasoned mediator with a passion for art, culture, language, and history beginning on the streets of Chicago in the mid-90’s. Bill’s multifaceted background and deep exploration of diverse facets of human civilization have given him a profound understanding of the complexities inherent in conflict and the transformative power of cultural awareness in resolving disputes.

As an accomplished artist, Bill uses his artistic lens to delve deep into the rich tapestry of cultures, weaving together threads of history, tradition, and symbolism. His artwork acts as a gateway to understanding the intricacies of different societies, providing him with a profound insight into the underlying causes of conflicts and the potential paths to resolution. By immersing himself in the art forms, languages, myths, and religious practices of various cultures, Bill develops a keen sensitivity to the nuances that shape individuals’ perspectives and behaviors, enabling him to navigate complex conflicts with empathy, respect, and a comprehensive understanding.

Moreover, Bill’s lifelong curiosity of history serves as a guidepost, illuminating the historical narratives and legacies that often contribute to ongoing tensions. His deep appreciation for the complexities of human experience throughout time allows him to contextualize conflicts within a broader historical framework, recognizing the interplay between past events and present-day dynamics. This historical consciousness is instrumental in fostering a sense of empathy and reconciliation, enabling parties involved in conflicts to transcend the limitations of their immediate circumstances and envision a shared future rooted in understanding and mutual respect, as well as a shared past.

Bill’s exploration of language, both spoken and unspoken, enriches his approach to conflict resolution. He recognizes that language not only serves as a means of communication but also embodies cultural nuances, subtle cues, and deeply ingrained beliefs. By delving into the linguistic patterns, idioms, and expressions of diverse cultures, Bill unveils the layers of meaning embedded within conversations, facilitating a deeper understanding of underlying intentions and facilitating effective communication. His ability to navigate the intricate dance of language empowers him to bridge gaps in communication, forge connections, and unearth shared values that serve as a foundation for resolving conflicts.

In the realm of myth and religion, Bill’s curiosity and awe transcends mere knowledge, as he recognizes the profound impact that belief systems and collective narratives have on individual and group identities. He acknowledges the deep emotional, spiritual, and cultural significance these realms hold for individuals, and he approaches conflicts with reverence, sensitivity, and an appreciation for the profound complexities that arise from intersecting mythologies and religious practices. By embracing and honoring these dimensions, Bill fosters an environment that acknowledges the deeply rooted aspects of individuals’ identities, facilitating more meaningful and transformative conversations that pave the way for reconciliation and resolution.

Through his unique blend of artistic insight, cultural exploration, historical consciousness, and linguistic proficiency, Bill Zima emerges as a true Renaissance mediator, bridging worlds and fostering deep understanding in the realm of conflict resolution and mediation. His ability to see conflicts through a multidimensional lens allows him to engage in conversations that transcend mere surface-level disagreements, delving into the heart of the matter and unraveling the intricate layers that contribute to conflicts. With Bill’s guidance, parties involved in disputes gain new perspectives, develop empathy, and discover pathways towards resolution that honor their cultural heritage and individual identities.

In a world seeking new approaches to conflict resolution and mediation, the wisdom and expertise of Bill Zima offer a transformative way forward. By blending art, culture, language, myth, religion, and history into his practice, Bill not only facilitates dialogue but also creates profound spaces for healing, understanding, and reconciliation. With his unique perspective and deep insight, Bill Zima continues to empower individuals and communities to navigate conflicts with compassion, wisdom, and cultural sensitivity. His ability to bridge the gap between diverse cultures and perspectives fosters an environment where meaningful conversations can take place, leading to transformative resolutions.

Bill’s artistic background infuses his mediation practice with a unique creative energy, enabling him to approach conflicts from fresh angles and explore innovative solutions. Drawing upon his deep understanding of artistic expression, he encourages parties to think beyond conventional boundaries and tap into their innate creativity to find mutually beneficial outcomes. This infusion of creative thinking sparks new ideas, breaks down barriers, and inspires out-of-the-box thinking, ultimately leading to more sustainable and innovative resolutions.

Furthermore, Bill’s commitment to ongoing learning and exploration keeps him at the forefront of emerging theo- ries, methodologies, and practices in conflict resolution. Trained as a Person-Centred / Psychodynamic therapist he continually seeks opportunities to expand his knowledge base and refine his skills, ensuring that he can offer the most effective and relevant strategies to his clients. This dedication to professional growth allows him to adapt to the ever-changing dynamics of conflicts and provide cutting-edge solutions tailored to the specific needs of each situation. BLISS is currently starting clinical trial at the University of Aberdeen’s Department of Medicine to evidence BLISS as a new mental health option.

In a world where conflicts can often seem insurmountable, Bill Zima brings hope and a fresh perspective.By integrating art, culture, language, myth, religion, and history into his mediation practice, he transcends traditional approaches and opens up new avenues for dialogue, understanding, and resolution. His ability to connect deeply with diverse individuals and communities, while honoring their unique identities and cultural heritage, sets him apart as a mediator of exceptional insight and impact.

As conflicts continue to arise in an increasingly interconnected world, the expertise and holistic approach of Bill Zima offer a beacon of light. Through his profound understanding of art, culture, language, myth, religion, and history, he provides a pathway for transformation, reconciliation, and sustainable peace. By bridging worlds, fostering understanding, and inspiring creative solutions, Bill Zima continues to make a significant contribution to the field of conflict resolution and mediation, leaving a lasting impact on individuals, communities, and societies worldwide.     

Contact Info:

• Website: www.billzima.com
• Instagram: @billzima
• Linkedin: Bill Zima
• Youtube: @billzima

Image Credits
Bill Zima