Konstantin Dimopoulos
Medium: Sculpture and Painting

Studio Location:
183 Lorraine Street
Studio # 67

Phone: (206)4755-560

Email: info@kondimopoulos.com

Website:: http://kondimopoulos.com

Artist Bio:
Konstantin Dimopoulos is an Egyptian born conceptual and social 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.

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. Inspired by this diverse cultural and political history, the artist has addressed various issues including emigration, environmental ecocide, homelessness, and genocide.

The Blue Trees, an ongoing environmental art intervention uses a vibrant blue to temporarily transform living trees into a surreal environment. It speaks of the need to halt removal of the Old Growth Forests and Rainforests and to protect the trees we have. To date Konstantin Dimopoulos has created The Blue Trees around the USA in Sacramento, Palo Alto, Seattle, Albuquerque, Norcross, Houston, Galveston, Denver, Breckenridge, Jacksonville, Gainesville, Chattanooga, and at the Currier Museum of Art in Manchester; and in Singapore, Germany, Australia and in New Zealand.

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.

Dimopoulos lives in Brooklyn,New York

Images - Cypher - kinetic sculpture, Bondi, Sydney, Australia.
The Barbed Wire Buddha - Conny Dietzschold Gallery, Sydney.
The Blue Trees - Environmental Installation
Self Portrait with Yellow Jesus of Brooklyn.

Artist Statement:
"We need all art as we need all nature; there is a balance in both. We need easy, ordinary contact with art. With ordinary art; we must stop talking as though only masterpieces mattered. We must altogether stop speaking of art in terms of war.
Individual artists may improve their work with experience and keener understanding, but art as such does not progress and least of all does it triumph over other art."

All images and text copyright Konstantin Dimopoulos