The entire Mack’s work has always been focused on the fundamental role played by the light as a constitutive element of vision which he turned into the key of a poetic language able to radically modify the base of the modern art.

For Mack, light, transparency and refraction provided the tools for crystallizing and manifesting a circumscribed but absolute territory, in which only their intrinsic, universally iconic qualities emerge as the catalysts of an autonomous new entity that draws its power and raison-d’être from the image’s vibration in space, as if it were a part of the real, at the mercy of the real world.

​The identity between light and color has been transformed into shapes of dialectic and active relationship such as structure, vibration, rhythm and it also constitutest he central element of the continuity and of his work’s metamorphosis.

The liminal zone of colour – between light and darkness – is what Mack considers the germinal place of vision, which led to the major transition of 1991, when the artist began to focus on a new painterly practice translating his intuitions for the redefinition of surface and space into a surprising new chromatic approach. This is how the monumental “Chromatische Konstellation” (“chromatic constellations”) were made: an impetuous painting, made of pure colors, free from any naturalistic or descriptive element rather the unfolding of the luminous spectrum as a distillate of thought and energy.

​The continuity between the two creative phases also emerges from the words of the artist himself, who considers both of these creative moments as expressions of what we might define his “luminous vocation”: “Just think of the phenomenal richness and the diversity of colours whose nuances we can see. This happens within universal nature, hence in the micro- and the macrocosm as well. As always – and here too – scholars attempt to comprehend the underlying principles and laws, whereas the layperson and the artist are the first and the last to be fascinated by beauty, thereby considerably challenging our perceptions and emotions. The happiness I derive from colours cannot be replaced with anything else. A change of light – it can be warm or cold, clear or opaque, hard or soft, shady or bright – invariably changes the colours. Interestingly, here, the black-white duality plays a role as well, wherein the colours appear to be ‘latently’ hidden. In this regard, I share your interest in the non-colours. I discovered early on that plenty of experience is required before a painter is capable of painting a picture exclusively with the so-called non-colours, which are indeed also light colours. I ought to point out here that for me the non-colours are adequate colours. In fact, they have their own privilege within the large colour concert. Black can never be black enough! Just as white can never be too white”.