As a sculptor, performance and installation artist, I create artworks that are grounded in my sociological and humanist philosophies. In my environmental installation, The Blue Trees, the colour and the Tree come together to transform and affect each other; the colour changing the Tree into something surreal, something out of this world. While the Tree, rooted in this earth reflects what we may lose. This change is important not only as a means to highlight ecological issues, such as the ecocide of our forests, but also that it may effect a transformation in the psyche of people by raising our social consciousness. With The Blue Trees, the colour and the Tree become a sculptural work referencing people’s lives, their daily existence and how individually and collectively we shape the world we inhabit. I think of the Blue Trees as an artwork that has a strong regenerative aspect to it, an organic work that is continually changing and evolving from site to site. From season to season the trees grow through the cycles of nature and the colors also begin to change and disappear. There is a sense of time as a part of the concept. Time that determines our own existence is measured through these trees. Konstantin Dimopoulos

“Konstantin Dimopoulos’ The Blue Trees is an environmental call to action clothed in pure pigment. These installations take their place in a long line of works by the artist which have a social conscience and span a wide variety of media and concerns. For example, The Purple Rain addresses the issue of homelessness, which, as the artist explains, “like the rain … is becoming a downpour.” Dimopoulos scattered purple dots throughout an urban plaza in Melbourne, Australia. He then embedded QR codes in the dots to provide their individual stories thus personalizing the issue of homelessness. In The Blue Trees Dimopoulos focuses on the environment, using trees as the canvas to create an installation highlighting global deforestation. The origins of using natural materials (earth, rock, plants, trees) to make art in situ in nature can be traced back to the development of Land Art in the 1960s. Artists like Robert Smithson formed massive works in isolated sites far outside the usual commercial gallery system of selling and displaying art. Since then artists have worked with the land in a wide variety of ways. The Blue Trees can be compared to Andy Goldsworthy’s ethereal constructions of leaves, petals or twigs in natural sites. Dimopoulous uses non-permanent blue pigment to emphasize the ephemeral, fleeting quality of nature and to touch our hearts with vivid, startling color.” Ellen Simak, Curator Chattanooga,Tennessee