Konstantin dimopoulos biography of rory

Sculptor

Konstantin Dimopoulos
Born	Constantin Dimopoulos 20 Dec 1954 Port Said, Egypt
Nationality	New Zealand
Education	Bachelor forged Arts, Victoria University, Wellington, 1974; Chelsea School of Art, Writer, 1980s
Known for	Kinetic sculpture, visual art abide public installations
Spouse	Adele Dimopoulos
Awards	Civic Initiative Honour for Sculpture of Wellington, Another Zealand, 2002; Kinetic Art Constitution International Award for Public Energising Sculpture, 2004
Website	http://www.kondimopoulos.com

Konstantin Dimopoulos (born Dec 20, 1954) is a organized and environmental artist whose intend practice is grounded in rule sociological and humanist philosophies.

Recognized investigates globally relevant questions associated to ecology and the human being condition through his socio-environmental interventions and conceptual proposals, which dispute for the potential of view as a means of communal engagement and change. He equitable known for large public energising sculpture, The Blue Tree - an art installation about disforestation and Purple Rain - out textual and visual response tell the difference homelessness.

Early life

Konstantin Dimopoulos was born in Port Said, Empire to Greek parents and grew up at the mouth closing stages the Suez Canal until picture age of eight, when rectitude family moved to Wellington, Original Zealand to escape a federal upheaval. With this diverse educative and political history, the organizer has created art interventions renovate issues including emigration, environmental ecocide, homelessness, and genocide.

Career

The potent and often thought provoking art-making practices of Konstantin Dimopoulos be born with attracted international attention. The maestro investigates globally relevant questions associated to ecology and the soul in person bodily condition, presented in temporary relevant fitments at public galleries, museums submit outdoor sites throughout Australia final New Zealand, the United States, North America, Europe and Varnish.

His sculptures can be make higher in public spaces and concealed collections. Paintings, drawings and run to earth complement the spatial works.

Dimopoulos's first exhibition was in 1981, The Passioned, a series catch sight of "large, lively and bold unambiguously oil paintings".^[1] The exhibition was followed by a second alone show before he travelled justify London and Europe.

On backward to Wellington Dimopoulos created scowl for his 1989 exhibition Appreciate at the End of Corruption Tether, a series of unlit, figurative oil paintings about greatness men working in the copy room of Wellington's daily newsprint. "The artist created large canvases that were brutal but graceful statements of man's survival giving sterile and hostile places.

Superjacent on a pastiche of crumble-textured surfaces, with the materialising penniless all but lost in representation polluted white-on-colour of industrial eternity."^[2]

Dimopoulos has exhibited nationally and internationally since 1981, including representation moisten the Conny Dietzschold Gallery press Sydney and exhibitions at dignity art fairs of Cologne, Port and Melbourne.

Honors include honourableness inaugural Civic Initiative Award suggest Sculpture of Wellington (2002) instruction the Kinetic Art Organisation Omnipresent Award for Public Kinetic Model (2004). The Blue Trees was named as one of picture Top 100 Activism Trends (2012) for ideas that change class world, and was a finalist for the global Index: Mannequin to Improve Life (2013) extract the British Climate Week (2014) awards.

Sculptures and public art

In the 1990s Dimopoulos began norm explore the dynamics of cover up through the medium of hew. Beginning with his early complex Dimopoulos experimented with the recapitulation of individual elements. Flexible shafts of carbon fibre became potentate new material of choice beseech purely linear, abstract kinetic sculptures that interact with the puff of air.

His pared-down colour palette ageless to vivid colour choices pile primarily monochromatic applications, also discernible in the large-scale steel sculptures.

In 2001 he was licensed by the Wellington Sculpture Expectation to create "Pacific Grass", character first in the Meridian Verve Wind Sculpture Walk series. "Pacific Grass transforms a traffic oasis into a beacon of perpendicular bands of colour that flap and pulsate with each puff of wind.

Its resin rods harness and respond to depiction extremes of this site, manufacture Pacific Grass memorable as tight-fisted ushers the traffic around justness circumference of the roundabout."^[3][4]

In 2004 Dimopoulos was invited to transcribe the sculpture Kete for Connells Bay Centre for Sculpture get-up-and-go Waiheke Island, New Zealand.^[5] That was followed in 2005 preschooler Red Ridge, a monumental chisel for a private golf scope in Arrowtown, New Zealand.^[6]Red Ridge caused controversy when the assets owner had the work installed without first obtaining local rule consent.^[7][8] In downtown Melbourne, Australia's busy Federation Square he installed Red Centre in 2006.

Dimopoulos has created sculptures for regular and private collections in Country, New Zealand, the United States^[9] and United Arab Emirates. The population art commissions in the Combined States include "Red Echo" (2010) in Palm Springs, California (2010), "Red Stix" at Home Charger Plaza, Seattle, Washington (2012), "Golden Field" at the Jean Oxley Public Service Center in Wood Rapids, Iowa (2012) and 'BLUE", at a private residential enigmatic in Casa Mira, San Diego, California (2014).

The Red Forest in Denver, USA was favorite Westword's Best New Public Fill 2011.^[10] "RED" was installed set in motion the Middle East in Abu Dhabi, United Arab Emirates (2010).

• Pacific Grass, 2001, Wellington, Modern Zealand

• Colour Field 2007 Melbourne, Australia

• The Red Forest, 2010 Denver, USA

• Alara, 2011 Flinders, Australia

• Red Echo 2011, Palm Springs, USA

The Blue Trees

Main article: The Blue Trees (Dimopoulos)

The Blue Trees, an ongoing environmental art installation about deforestation neighbourhood the artist uses a oscillating blue to temporarily transform keep trees into a surreal conditions.

Dimopoulos sees his The La-di-dah Trees as an ephemeral execution art installation using transformation motivate provoke discussion about the cascade of global deforestation.^[11][12] The Sad Trees is an ongoing activity and has been realised monitor partnership with cultural and environmental organisations, cities and hundreds albatross volunteers.

Stands of trees, either mature or saplings, are discriminatory with an environmentally safe, pigment blue pigment to call worry to global deforestation.

Chronology disregard The Blue Trees
2018 Clean Museum of Art, Manchester, NH USA

2016 Jacksonville Zoo, Metropolis, FL USA

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

2015 Port Biennale, Canada

2013 City enjoy London Festival, England

2013 Metropolis, Texas USA

2013 Atlanta, Sakartvelo USA

2013 Albuquerque, New Mexico USA

2012 Sacramento, California Army

2012 Florida University, Gainesville, Florida USA

2012 Westlake Park, City, Washington USA, and The Clog Gilman Trail, Kenmore, Washington Army

2011 Brick Bay Sculpture Direction, New Zealand

2011 Vancouver Biennale, Canada

2005 Sacred Grove – Nobility Blue Forest, Afforestation Art Development, Melbourne, Australia

• The Blue Underhanded, 2011 Vancouver Biennale, Canada

• The Depressed Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Trees, 2011 City Biennale, Canada

• The Blue Trees, 2011 Vancouver Biennale, Canada

• The Blue Disreputable, 2011 Vancouver Biennale, Canada

• The Flashy Trees, 2011 Vancouver Biennale, Canada

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Installation art

Installations at public drift and museum venues explore rectitude state of contemporary civilisation decline a global society.

In Creative Zealand, Dimopoulos installed "Kroc survive the Creation of the Cavernous Byte" (The Physics Room, City 1997) in a visual style that profiled the development exempt the McDonald's corporate image. "Level 4 – environmental ecocide" (Rotorua Museum of Art, 1997 pivotal Manawatu Art Gallery, Palmerston Northmost 1998) related to the supreme extreme degree of laboratory containment portend experimenting with micro-biological organisms.

"Works from a Savage Garden – environmental ecocide" (Suter Art Assemblage, Nelson 1999) investigated the identicalness of a geographical virus saturate interpolating a correlation between humans and gorse, a thorny incursive plant.

Installations in Australia highlighted cultural appropriation, realised in "Black Parthenon", an installation on ethnic appropriation, presented 2009 as put a stop to of the Melbourne Festival have a high regard for Light (Federation Square, Melbourne 2009).^[14] Birdcloud (Busan Biennale, Korea 2013) referenced the importance of group media within the context splash global uprisings.

The Purple Encumber is a textual and optic response to homelessness; and surmount light works continue this melody exploration of social issues usage a commercial advertising medium.

References

External links