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101:(born December 20, 1954) is a social and environmental artist whose art practice is grounded in his sociological and humanist philosophies. He investigates globally relevant questions related to ecology and the human condition through his socio-environmental interventions and conceptual proposals, which argue for the potential of art as a means of social engagement and change. He is known for large public kinetic sculpture, The Blue Tree - an art installation about deforestation and Purple Rain - a textual and visual response to homelessness.
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corporate image. "Level 4 – environmental ecocide" (Rotorua Museum of Art, 1997 and
Manawatu Art Gallery, Palmerston North 1998) related to the highest degree of laboratory containment for experimenting with micro-biological organisms. "Works from a Savage Garden – environmental ecocide" (Suter Art Gallery, Nelson 1999) investigated the identity of a geographical virus by interpolating a correlation between humanity and gorse, a thorny invasive plant.
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of Its Tether, a series of dark, figurative oil paintings about the men working in the printing room of
Wellington's daily newspaper. "The artist created large canvases that were brutal but beautiful statements of man's survival in sterile and hostile places. Superimposed on a pastiche of crumble-textured surfaces, with the materialising bodies all but lost in the polluted white-on-colour of industrial eternity."
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discussion about the issue of global deforestation. The Blue Trees is an ongoing project and has been realised in partnership with cultural and environmental organisations, cities and hundreds of volunteers. Stands of trees, either mature or saplings, are coloured with an environmentally safe, ultramarine blue pigment to call attention to global deforestation.
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Dimopoulos's first exhibition was in 1981, The
Passioned, a series of "large, lively and bold linear oil paintings". The exhibition was followed by a second solo show before he travelled to London and Europe. On returning to Wellington Dimopoulos created works for his 1989 exhibition Mind at the End
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The powerful and often thought provoking art-making practices of
Konstantin Dimopoulos have attracted international attention. The artist investigates globally relevant questions related to ecology and the human condition, presented in temporary installations at public galleries, museums and outdoor
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Installations in
Australia highlighted cultural appropriation, realised in "Black Parthenon", an installation on cultural appropriation, presented 2009 as part of the Melbourne Festival of Light (Federation Square, Melbourne 2009). Birdcloud (Busan Biennale, Korea 2013) referenced the importance of
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In 2001 he was commissioned by the
Wellington Sculpture Trust to create "Pacific Grass", the first in the Meridian Energy Wind Sculpture Walk series. "Pacific Grass transforms a traffic island into a beacon of vertical bands of colour that undulate and pulsate with each gust of wind. Its resin rods
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Dimopoulos has exhibited nationally and internationally since 1981, including representation by the Conny
Dietzschold Gallery in Sydney and exhibitions at the art fairs of Cologne, Auckland and Melbourne. Honors include the inaugural Civic Initiative Award for Sculpture of Wellington (2002) and the
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Installations at public gallery and museum venues explore the state of contemporary civilisation in a global society. In New
Zealand, Dimopoulos installed "Kroc and the Creation of the Big Byte" (The Physics Room, Christchurch 1997) in a visual essay that profiled the development of the McDonald's
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Dimopoulos has created sculptures for public and private collections in
Australia, New Zealand, the United States and United Arab Emirates. Public art commissions in the United States include "Red Echo" (2010) in Palm Springs, California (2010), "Red Stix" at Home Plate Plaza, Seattle, Washington
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In the 1990s
Dimopoulos began to explore the dynamics of form through the medium of sculpture. Beginning with his early works Dimopoulos experimented with the repetition of individual elements. Flexible shafts of carbon fibre became his new material of choice for purely linear, abstract kinetic
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The Blue Trees, an ongoing environmental art installation about deforestation where the artist uses a vibrant blue to temporarily transform living trees into a surreal environment. Dimopoulos sees his The Blue Trees as an ephemeral performance art installation using transformation to provoke
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Konstantin Dimopoulos was born in Port Said, Egypt to Greek parents and grew up at the mouth of the Suez Canal until the age of eight, when the family moved to Wellington, New Zealand to escape a political upheaval. With this diverse cultural and political history, the artist has created art
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sites throughout Australia and New Zealand, the United States, North America, Europe and Japan. His sculptures can be found in public spaces and private collections. Paintings, drawings and prints complement the spatial works.
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was named as one of the Top 100 Activism Trends (2012) for ideas that change the world, and was a finalist for the global Index: Design to Improve Life (2013) and the British Climate Week (2014) awards.
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sculptures that interact with the wind. His pared-down colour palette led to vivid colour choices in primarily monochromatic applications, also visible in the large-scale steel sculptures.
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caused controversy when the property owner had the work installed without first obtaining local government consent. In downtown Melbourne, Australia's busy Federation Square he installed
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184:(2012), "Golden Field" at the Jean Oxley Public Service Center in Cedar Rapids, Iowa (2012) and 'BLUE", at a private residential complex in Casa Mira, San Diego, California (2014).
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The Purple Rain is a textual and visual response to homelessness; and his light works continue this thematic exploration of social issues using a commercial advertising medium.
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Griffin, Kevin (30 March 2011), "Artist's blue period puts focus on deforestation: Vancouver Biennale project gives trees in Lower Mainland a colourful wash",
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Civic Initiative Award for Sculpture of Wellington, New Zealand, 2002; Kinetic Art Organisation International Award for Public Kinetic Sculpture, 2004
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s Best New Public Art 2011. "RED" was installed in the Middle East in Abu Dhabi, United Arab Emirates (2010).
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2012 Westlake Park, Seattle, Washington USA, and The Burke Gilman Trail, Kenmore, Washington USA
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Bachelor of Arts, Victoria University, Wellington, 1974; Chelsea School of Art, London, 1980s
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595:"Richmond Review – Latest public art installation turns trees a bright shade of blue"
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2005 Sacred Grove – The Blue Forest, Afforestation Art Action, Melbourne, Australia
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Kinetic Art Organisation International Award for Public Kinetic Sculpture (2004).
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memorable as it ushers the traffic around the circumference of the roundabout."
621:"Blue Trees – Public art installation with Konstantin Dimopoulos / ZIEHL-ABEGG"
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Ferguson, Lin. "Sculpture Gorgeous". The Southland Times, New Zealand, 2005
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Ferguson, Lin. "Damn the consents, this is art". The Southland Times, 2005
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2015 Kuenzelsau Environment Installation at ZIEHL-ABEGG, Germany
556:"Denver Best New Public Art – "The Red Forest" – Best of Denver"
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488:. Steele Roberts Aotearoa Ltd, New Zealand, 2008 (out of print)
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interventions on issues including emigration, environmental
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Art & About: A pocket guide to Wellington's Public Art
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harness and respond to the extremes of this site, making
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In 2004 Dimopoulos was invited to create the sculpture
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social media within the context of global uprisings.
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207:Pacific Grass, 2001, Wellington, New Zealand
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643:"Black Parthenon at Federation Square"
532:. The Dominion Post, New Zealand, 2006
291:2013 City of London Festival, England
219:Colour Field 2007 Melbourne, Australia
724:21st-century New Zealand male artists
714:20th-century New Zealand male artists
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593:Hoekstra, Matthew (18 March 2011).
719:21st-century New Zealand sculptors
709:20th-century New Zealand sculptors
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694:21st-century Australian sculptors
689:20th-century Australian sculptors
597:. Bclocalnews.com. Archived from
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447:Three solo shows by local artists
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315:2011 Vancouver Biennale, Canada
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672:The Wellington Sculpture Trust
545:. Sculpture Magazine, May 2007
462:. Art New Zealand No. 55, 1989
114:, homelessness, and genocide.
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460:Mind at the End of Its Tether
276:Chronology of The Blue Trees
91:http://www.kondimopoulos.com
645:. Neos Kosmos. 23 June 2009
471:Harper J, Lister A, (eds).
267:The Blue Trees (Dimopoulos)
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188:in Denver, USA was voted
140:Sculptures and public art
294:2013 Houston, Texas USA
530:Red tape overcomes art
667:Konstantin Dimopoulos
99:Konstantin Dimopoulos
35:Constantin Dimopoulos
25:Konstantin Dimopoulos
501:. New Zealand, 2007
580:The Vancouver Sun
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434:References
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105:Early life
649:30 August
605:30 August
562:30 August
180:in 2006.
174:Red Ridge
170:Arrowtown
166:Red Ridge
55:Education
191:Westword
16:Sculptor
627:11 July
112:ecocide
87:Website
528:News:
118:Career
79:Awards
71:Spouse
408:2916
651:2011
629:2016
607:2011
564:2011
158:Kete
31:Born
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