Artist Marko Remec often creates visual puns that conflate conventional art forms with current events, often involving tricks of the eye, forced perspective, and other formal sleights of hand. In the series of work that includes Would That I Wish For, the artist adheres ready-made objects such as mops, brooms, safety mirrors, and rear-view mirrors to utility poles to create tall, totemic-like shapes that can be at once delightfully whimsical, and deeply questioning of today’s morays and social practices. In Would That I Wish For, the convex mirrors’ usual use for safety, surveillance and security is abandoned, the structure becoming a dizzying, world-absorbing spectacle that also reference the complex social functions of indigenous totem poles of the Pacific Northwest in commemorating important individuals and groups, and in communicating important events.
In using “Totem” as part of his works’ titles, Remec is deferential to the original use of the word (which comes from an Ojibwe term meaning clan) in describing tall carved wooden objects made by the indigenous people of the Pacific Northwest, and is aware of those works’ primary function as communicative devices for telling stories, or imparting other important tribal or familial information.
Remec’s work does not mimic or copy any tribal style. Rather, as recorders and reflectors of the present moment, the works “speak to the abject fear and paranoia that are a common component of today’s urban and suburban condition,” Remec has said, addressing surveillance, narcissism and indifference, and the complex relationship between the built and natural worlds.
Would That I Wish For (Tall Totem), 2013