Kim Adams

Toronto, Ontario, Canada

Musée québécois de culture populaire

200, rue Laviolette, Trois-Rivières - N46 20.676 W72 32.4211

Throughout my working life as an artist, I have made models and drawings as a way of engaging more freely with sculpture. Sometimes, the models are proposals for larger works; at other times, they are larger scale sculptures in themselves. Caboose Mountains, the two works presented in the exhibition, consist of large fake rocks as a base for miniature landscapes and scenes of human settlement. The life-size faux boulders are commonly used for yard and lawn decoration most often in rural and suburban properties to cover over an assortment of ‘unsightly’ outdoor elements: garbage cans, pressure tanks, electric transformers, etc. Their realism is impressive. They also make for a perfect vehicle for my ongoing research and use of scale shifting: looking like real boulders they appear like large scale mountains when combined with HO miniature-scale landscape and inhabitants. Giving the impression of mountaintops rising from a submerged landscape, viewers will experience an estrangement of their own scale. In a departure from past works, this series will feature HO-miniature worlds of leisure and healthy lifestyles, and the slow or stand-still sense of time associated with rock culture. The constant, purposeful blurring of scale in my work is a result of its imaginary, propositional and perhaps utopian dimension.

Question on the perspective that connects my work to the theme Brave New World

The Caboose Mountains are part of an ongoing series of works that chronicle, in an hyperbolic and at times dystopian way, the transformation of the landscape under the pressure of the human inhabitation. Many of my past works have focused on the density of urban worlds. The Caboose Mountains suggest an imaginary escape and inhabitation of ever more remote and even, apparently inhabitable terrain. The blurring of scale that occurs throughout my work—the overlapping and intersecting of seemingly contradictory spatial dimensions—is the result of a deliberately imaginary, propositional nature: they are descriptions of a hyper-world, combining twisted, conjoined factoids, hear-say and rumors, snippets from the daily news, and everyday observations about the use of the planet for human inhabitation. The scenes depict the imbrication of work and leisure time, of independent entrepreneurship and alternative lifestyle built up on former industry and sometimes environmental destruction. Set in motion by the permission inherent in miniature worlds, the work departs from reality and unfolds a strange Brave New World.The hyperbolic visual narratives of my work map our specie’smobility, its expansion and contraction, colonization and extraction, and our relationships with and separations from social space and nature.


Kim Adams’ work has been included in major national and international solo and group exhibitions, most recently at the MassMOCAand National Gallery of . He is the recipient of the 2012 GershonIskowitz Award,a Guggenheim Fellowship (2013), and the Governor General’s Award for Visual and Media Art (2014). Heis represented by Diaz Contemporary in Toronto.

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