Konstantin Dimopoulos – International artist who creates social art installations and public sculptures

Windgrass, Featherston New Zealand, by Konstantin Dimopoulos(photo sourced from Kons facebook page)

Windgrass, Featherston, New Zealand, by Konstantin Dimopoulos (photo sourced from Kons facebook page)

I was introduced to Konstantin Dimopoulos’ work by fellow Whitireia Journalism student Erin Kavanagh-Hall, who interviewed him about one of his newest kinetic sculptures. Below are excerpts from the article.

Konstantin Dimopoulos‘ striking and thought-provoking art works have been exhibited all over the world, but his latest work is inspired by his Kiwi upbringing.

The Wellingtonian, now based in Melbourne, launched his towering new sculpture, Windgrass, in Featherston’s Clifford Square recently.

The 8.5-metre tall brown and yellow creation pays homage to the grasses of the south Wairarapa coastline, a place the artist often visited as a young man.

”It represents the bulrushes of the Wairarapa area,” says Dimopoulos, an Egyptian-born Greek who was raised in Wellington.

Pacific Grass, Kinetic sculpture, Wellington- Konstantin Dimopoulos (Photo)

Pacific Grass, Kinetic sculpture, Wellington- Konstantin Dimopoulos (Photo)

The sculpture is designed to move with the wind – a recurring theme for Dimopoulos, whose first major sculpture, Pacific Grass, was made in response to Wellington’s famous wind.

He has since gone on to exhibit his art internationally, with public sculptures in collections around the United States and Australia, and to create art installations in response to social issues.

Most notable of these is The Blue Trees, which is appearing in many North American cities.

The Blue Trees, in which he colours trees with a biologically safe blue pigment, was designed to raise awareness of deforestation.

Blue Trees-Konstantin Dimopoulos (photo)

Blue Trees-Konstantin Dimopoulos (photo)

”Art can be an incredibly powerful tool. It helps us get the issue of deforestation on to the front cover of a magazine, not the back pages.”

He is now working on a project called Purple Rain, which comments on homelessness.

 

 

 

 

Below a video of the kenetic sculpture in Palmerston North – ‘Giants Among Us’. Watch it gently sway in the breeze.

Chris Booth- Sculptor

Rainbow Warrior Memorial, by Chris Booth, Photo from here.

Rainbow Warrior Memorial, 1988-1990, by Chris Booth.
The Rainbow Warrior propellor is in the centre of the sculpture, surrounded by an arch of large basalt boulders recovered from a local beach.
Photo from here.

I keep finding new and inspiring artists, and Chris Booth is no exception. Have a read on his website and a look at his sculptures, and you will soon see it for yourself! The text below was taken from part of what he has written on his website.

“Chris Booth’s empathy for people, his ability to relate to their culture, and his underlying respect for the environment have enabled him to create memorable works that sit respectfully in the landscape’.
‘…… which wait patiently, quietly expecting due reverence from the observer’.

Ken Scarlett OAM, World Sculpture News, 2000.

Chris Booth gives a bit of an explaination to what is behind some of his work:

Once a site is identified and approved for a specific land art work I look closely at, for example, the origins of the land, itʼs flora and fauna, the spirit of the land, the social history and land use from ancient times to the present day. Also, my materials are researched and sourced locally. To me this is holism. By way of explaining this further, sometimes in the past I chose to ʻpoint fingersʼ in my work such as showing my opposition to the testing of nuclear devices in the Pacific Ocean, the destruction of indigenous forests in Northland, NZ or the exposing of injustices such as racism. At first these works had the desired effect of alerting others to the problem or adding to the voice of objectors. But, as I became more known, my work became more ʻcollectableʼ and, instead of achieving my original objective, these works became collectable commodities with a monetary value for investment! In 1986 I made a major shift back to holism (my first explorations into holism were carried out in the early 70ʼs using scale models and drawings). Gateway 1986-1990 and the Rainbow Warrior Memorial 1988-1990 were the first major public art works of mine to use this holistic approach. – Chris Booth (All sourced from www.chrisbooth.co.nz)