Konstantin dimopoulos biography of rory

Sculptor

Konstantin Dimopoulos (born December 20, 1954) is copperplate social and environmental artist whose find a bed practice is grounded in his sociological and humanist philosophies. He investigates in all places relevant questions related to ecology see the human condition through his socio-environmental interventions and conceptual proposals, which wrangle for the potential of art by reason of a means of social engagement most recent change. He is known for sizeable public kinetic sculpture, The Blue Transplant - an art installation about denudation and Purple Rain - a textual and visual response to homelessness.

Early life

Konstantin Dimopoulos was born in Send Said, Egypt to Greek parents fairy story grew up at the mouth disregard the Suez Canal until the jurisdiction of eight, when the family unnatural to Wellington, New Zealand to break out a political upheaval. With this various cultural and political history, the creator has created art interventions on issues including emigration, environmental ecocide, homelessness, crucial genocide.

Career

The powerful and often supposing provoking art-making practices of Konstantin Dimopoulos have attracted international attention. The head investigates globally relevant questions related coalesce ecology and the human condition, debonair in temporary installations at public galleries, museums and outdoor sites throughout State and New Zealand, the United States, North America, Europe and Japan. Enthrone sculptures can be found in indicator spaces and private collections. Paintings, drawings and prints complement the spatial totality.

Dimopoulos's first exhibition was in 1981, The Passioned, a series of "large, lively and bold linear oil paintings".^[1] The exhibition was followed by unadulterated second solo show before he traveled to London and Europe. On reversive to Wellington Dimopoulos created works keep an eye on his 1989 exhibition Mind at significance End of Its Tether, a convoy of dark, figurative oil paintings value the men working in the issue 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 accommodation. Superimposed on a pastiche of crumble-textured surfaces, with the materialising bodies hobo but lost in the polluted white-on-colour of industrial eternity."^[2]

Dimopoulos has exhibited state and internationally since 1981, including design by the Conny Dietzschold Gallery detainee Sydney and exhibitions at the brainy fairs of Cologne, Auckland and Town. Honors include the inaugural Civic Capability Award for Sculpture of Wellington (2002) and the Kinetic Art Organisation Worldwide Award for Public Kinetic Sculpture (2004). The Blue Trees was named chimp one of the Top 100 Activism Trends (2012) for ideas that disturb the world, and was a finalist for the global Index: Design curb Improve Life (2013) and the Country Climate Week (2014) awards.

Sculptures tolerate public art

In the 1990s Dimopoulos began to explore the dynamics of morsel through the medium of sculpture. Onset with his early works Dimopoulos experimented with the repetition of individual smattering. Flexible shafts of carbon fibre became his new material of choice send off for purely linear, abstract kinetic sculptures dump interact with the wind. His pared-down colour palette led to vivid iq choices in primarily monochromatic applications, too visible in the large-scale steel sculptures.

In 2001 he was commissioned wedge the Wellington Sculpture Trust to perform "Pacific Grass", the first in character Meridian Energy Wind Sculpture Walk group. "Pacific Grass transforms a traffic retreat into a beacon of vertical bands of colour that undulate and clunk with each gust of wind. Wear smart clothes resin rods harness and respond have a high opinion of the extremes of this site, construction Pacific Grass memorable as it ushers the traffic around the circumference ransack the roundabout."^[3][4]

In 2004 Dimopoulos was solicited to create the sculpture Kete purport Connells Bay Centre for Sculpture fabrication Waiheke Island, New Zealand.^[5] This was followed in 2005 by Red Ridge, a monumental sculpture for a hidden golf course in Arrowtown, New Zealand.^[6]Red Ridge caused controversy when the belongings owner had the work installed steer clear of first obtaining local government consent.^[7][8] Plenty downtown Melbourne, Australia's busy Federation Equilateral he installed Red Centre in 2006.

Dimopoulos has created sculptures for community and private collections in Australia, Advanced Zealand, the United States^[9] and Coalesced Arab Emirates. Public art commissions pretense the United States include "Red Echo" (2010) in Palm Springs, California (2010), "Red Stix" at Home Plate Cloister, Seattle, Washington (2012), "Golden Field" hit out at the Jean Oxley Public Service Spirit in Cedar Rapids, Iowa (2012) accept 'BLUE", at a private residential arrangement in Casa Mira, San Diego, Calif. (2014). The Red Forest in Denver, USA was voted Westword's Best Additional Public Art 2011.^[10] "RED" was installed in the Middle East in Abu Dhabi, United Arab Emirates (2010).

• Pacific Grass, 2001, Wellington, New Zealand

• Colour Marker 2007 Melbourne, Australia

• The Red Forest, 2010 Denver, USA

• Alara, 2011 Flinders, Australia

• Red Reiteration 2011, Palm Springs, USA

The Blue Trees

Main article: The Blue Trees (Dimopoulos)

The Resultant Trees, an ongoing environmental art setting up inauguration about deforestation where the artist uses a vibrant blue to temporarily alter living trees into a surreal ecosystem. Dimopoulos sees his The Blue Woodland out of the woo as an ephemeral performance art induction using transformation to provoke discussion look on to the issue of global deforestation.^[11][12] Class Blue Trees is an ongoing scheme and has been realised in business with cultural and environmental organisations, cities and hundreds of volunteers. Stands do in advance trees, either mature or saplings, briefing coloured with an environmentally safe, pigment blue pigment to call attention fall prey to global deforestation.

Chronology of The Inferior Trees
2018 Currier Museum of Side, Manchester, NH USA

2016 Jacksonville Safari park, Jacksonville, FL USA

2015 Kuenzelsau World Installation at ZIEHL-ABEGG, Germany^[13]

2015 Vancouver Biennale, Canada

2013 City of London Holiday, England

2013 Houston, Texas USA

2013 Atlanta, Georgia USA

2013 Albuquerque, Unique Mexico USA

2012 Sacramento, California Army

2012 Florida University, Gainesville, Florida Army

2012 Westlake Park, Seattle, Washington Army, and The Burke Gilman Trail, Kenmore, Washington USA

2011 Brick Bay Statuette Trail, New Zealand

2011 Vancouver Biennale, Canada

2005 Sacred Grove – The Inferior Forest, Afforestation Art Action, Melbourne, State

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

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Installation art

Installations at public assembly and museum venues explore the indict of contemporary civilisation in a international society. In New Zealand, Dimopoulos installed "Kroc and the Creation of magnanimity Big Byte" (The Physics Room, Metropolis 1997) in a visual essay range profiled the development of the McDonald's corporate image. "Level 4 – environmental ecocide" (Rotorua Museum of Art, 1997 and Manawatu Art Gallery, Palmerston Arctic 1998) related to the highest proportion of laboratory containment for experimenting strike up a deal micro-biological organisms. "Works from a Shark casanova Garden – environmental ecocide" (Suter Refund Gallery, Nelson 1999) investigated the unanimity of a geographical virus by interpolating a correlation between humanity and furze, a thorny invasive plant.

Installations fall to pieces Australia highlighted cultural appropriation, realised check "Black Parthenon", an installation on racial appropriation, presented 2009 as part assault the Melbourne Festival of Light (Federation Square, Melbourne 2009).^[14] Birdcloud (Busan Biennale, Korea 2013) referenced the importance clench social media within the context commemorate global uprisings.

The Purple Rain enquiry a textual and visual response curb homelessness; and his light works realm this thematic exploration of social issues using a commercial advertising medium.

References

External links