MARK VÁZQUEZ-MACKAY | LUZ DE LA NOCHE | MEXICO CITY, MX

Mark Vázquez-Mackay invites viewers to immerse themselves in the captivating tapestry of Mexico City’s urban nights with his latest series of works. These paintings, suffused with vivid colors and dynamic compositions, celebrate the ephemeral magic of life after dark while exploring themes of culture, history, and contemporary urbanity.

“When I first moved here,” Vázquez-Mackay begins, “I was immediately struck by the vibrancy of the city at night. There’s this natural gathering of people, often around food, illuminated by these surreal LED lights that transform ordinary spaces into something extraordinary.” These scenes form the cornerstone of his work: bustling tiangus (open-air markets) illuminated against historical backdrops, pop-up fairs that appear overnight, and taco stands glowing under fluorescent lights. These moments, as transient as they are striking, serve as metaphors for the interplay of the past and present.

His artistic process begins with a walk through the chaos and beauty of the city, observing the layers of culture embedded in everyday life. “I’ve always been fascinated by the way light interacts with surfaces,” he says. “Mexico City offers an endless palette of textures and colors. The streets here are alive in a way that I’ve never experienced elsewhere.” This intimate connection to his surroundings is evident in his works, which bridge the deeply personal and the universal. The vibrancy of his colors reflects the city’s vitality, while his careful compositions invite viewers to linger and reflect.

Vázquez-Mackay’s background informs his unique perspective. Born in Canada, where he spent most of his career, his roots in a landscape-centric artistic tradition initially led him to reject the genre. “Canada has this storied history of landscape painting,” he explains. “But for me, it felt too cliché to follow that path. I gravitated towards figurative work, yet I always felt a pull towards the environment.” It wasn’t until the pandemic that he began to reconcile these inclinations. “The lockdowns gave me the space to step back and reassess my practice. That’s when I decided to merge my studio work with my sketches and observations of the environment.”

His relocation to Mexico City two years ago was a pivotal moment. “The move was about finding a place where I could fully embrace my creative vision,” he reflects. He describes his studio, situated near the Zócalo, as a constant source of inspiration. “From my window, I can see the National Palace,” he says. “It’s a reminder of the layered history here. The tanguis outside my door is chaos, but it’s a beautiful chaos.”

This juxtaposition of history and contemporary life manifests in his paintings, where architectural structures stand as enduring witnesses to the transient human activities around them. In one piece, a centuries-old metro station hums with life as street vendors bustle below. Another painting captures the vibrant chaos of a mobile food stand in Chiapas, its improvised lights casting dramatic shadows. “I start each painting with spray paint to establish color and light,” he explains. “Then I build on that foundation with oil, exploring different degrees of detail and abstraction.”

Vázquez-Mackay’s fascination with light extends beyond its visual impact. For him, it’s a metaphor for the connection between the past and present. “In Canada, the focus is often on the future—survival through the winter, planning for what’s next,” he notes. “But in Mexico, there’s this profound sense of living with your past. Ancestors are present here in a way that’s deeply moving.” This concept of time’s fluidity shapes his work. “I’m trying to create a sense of suspension, where the viewer can’t quite tell where the past ends and the present begins.”

One particularly striking series explores the transient nature of pop-up fairs. “One morning, I stepped outside, and a fair had appeared overnight,” he recalls. “By evening, it was alive with lights, colors, and movement. These spaces are temporary, but they leave a lasting impression.” He captures this essence by painting on black backgrounds, using spray paint to establish vibrant color schemes before refining the details with oil.

His works also incorporate unconventional materials, such as collaged elements found on the streets. “I’ve started integrating pieces of advertisements or flyers,” he shares. “For instance, one of my paintings includes a fragment from a Netflix poster about female luchadoras. It’s a way to embed the city’s narrative directly into my work.”

Despite his success, Vázquez-Mackay remains grounded in the realities of being an artist in Mexico. “Selling art here is a challenge,” he admits. “There’s a strong artisanal tradition, but that can make it harder to position contemporary art within the market. I’ve had to adapt by connecting with international audiences through platforms like Artsy.net.”

For his upcoming online exclusive exhibition, he has curated a selection of works that showcase the breadth of his practice. “I wanted to include a mix of small, medium, and large pieces to appeal to a range of collectors,” he explains. “Art fairs have taught me the importance of accessibility—both in terms of size and price.”

His collaboration with The Bureau of Queer Art has also been instrumental in broadening his reach. “The Bureau has been an incredible partner,” he says. “They’re not just about showcasing art; they’re about building community and creating opportunities for dialogue.” Through these partnerships, Vázquez-Mackay has been able to navigate the complexities of the art world while staying true to his vision.

Reflecting on his journey, he says, “Moving to Mexico has been transformative. It’s given me the freedom to explore new ideas and push the boundaries of my practice. My hope is that these paintings inspire viewers to see the beauty in the fleeting moments of everyday life.” In his hands, the ephemeral becomes eternal, inviting us all to pause and appreciate the luminous intersections of light, culture, and time.