Konstantin Dimopoulos’s multidisciplinary art practice incorporates sculpture, installation, performance, painting, printing and drawing in the creation of monumental imagery, social and environmental interventions and conceptual proposals that argue the potential of ‘art’ as a means of social engagement and change.

Drawing from his diverse personal cultural and political history, Dimopoulos fashions a visual language based on thematic and contextual constructions. These evolving pictorial narratives are descriptive of such varied issues as domestic violence, environmental ecocide, homelessness, and cultural appropriation.

Konstantin Dimopoulos was born in Port Said, Egypt to Greek parents and grew up at the mouth of the Suez Canal. His early paintings and prints explored the human condition ‘with a stark bravura’ – in the installation, Mind at the End of its Tether and The Barbed Wire Sang. In the 1990s, flexible shafts of carbon fibre became his new material of choice for purely linear, abstract kinetic sculptures exploring the volatility of natural forces. His pared-down colour palette led to primarily monochromatic applications, also visible in his large-scale steel sculptures.

Installations such as Level 4 and Kroc and the Creation of the Big Byte, at public gallery and museum venues explored the ‘viral’ aspect within contemporary civilisation.

‍“Konstantin Dimopoulos is one of Weiwei’s kindred spirits. He is a social and performance artist whose artworks are grounded in his sociological and humanistic philosophies.” Embracing Change Through Art, Design & New Leadership by Ilaria Forte and Dr. Peter Everts, Germany.

“I'm thinking of everything from Pussy Riot and Ai Weiwei’s courageous stands for freedom of speech and human rights to ecologically inspired work like Buster Simpson’s Beckoning Cistern and Konstantin Dimopoulos’s Blue Trees.” Julia Hensley, Seattle NEWS.