Repeatedly in his work, Canadian artist Kim Adams has explored the patterns of a mobile society, creating works of art that are eccentric hybrids of the readymade.
Blending humour, satire and seriousness, he builds “worlds” as a means of social critique. Adams’ installations exist comfortably in the space that divides life and art. His works have been presented in two very different social worlds: in a densely social environment such as a park or street and in a museum setting like the Art Gallery of Hamilton. Neither setting is privileged.
A magnificent visual masterpiece, Bruegel-Bosch Bus consists of a 1960 Volkswagen that appears to pull a post-industrial universe displaying a cornucopia of fantastic and seductive worlds that play with our senses. It was produced over a 7-year span. This futuristic diorama is a permanent fixture in the AGH Sculpture Atrium overlooking the Irving Zucker Sculpture Garden, past Hamilton City Hall and the Niagara Escarpment.
Reminiscent of a previous installation by Adams titled Earth Wagons that presented a micro-model North American society fixed on leisure and entertainment, the Breugel-Bosch Bus encapsulates the next whole world picture, a world in which reality and unreality, logic and fantasy, banality and sublimation of existence, form an inexplicable unity.
This ‘bus’ is a Kubrickesque megalopolis made of icons symptomatic in present society and draws upon urban fantasies, phantasmagoric, post-apocalyptic landscapes, and a plethora of different times and cultures. Buildings from different epochs are aligned side by side and space becomes an imaginary territory where chaos prevails.