Lee Broom has spent two decades refining a practice that treats light not as utility but as a sculptural medium. Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city’s most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.
Marking Broom’s debut exhibition in Mexico, the project was developed in close dialogue with Diez Company, under the leadership of Gina Diez Barroso and Rodrigo Fernández, whose house has served as the brand’s Mexico City home since February 2025. The result is less a conventional exhibition than a narrative environment, which unfolds as a carefully orchestrated journey.
The installation’s organizing gesture is vertical. At its heart, a monumental cascade of light suspends itself through the soaring central atrium. The Hail Chandelier descends through the stairwell in a dramatic composition that exploits the full height of the architecture, defining the exhibition’s character from the moment of entry.
The stairwell becomes both circulation route and stage set as visitors are drawn upward along this luminous axis. It is a characteristically ambitious move from Broom – using a single intervention to recalibrate spatial logic and choreograph the viewer’s movement room by room.
Broom’s Requiem series introduces a quieter register within this vertical drama. Showcased throughout the house, including the recently launched wall sconce, the pieces are hand-sculpted in draped plaster by the designer himself. Their ethereal stillness – fabric seemingly frozen mid-fall, light emanating from within folds that recall classical draperies – creates moments of pause and contemplation. Installed in dialogue with the architecture, they offer an intimate counterpoint to the chandelier’s theatrical scale.
Among the most striking transformations is a reimagined tiled bathroom, refinished in matte gold. Chant chandeliers and Chant portable lamps are arranged in a disciplined grid that mirrors the tile geometry, producing a chic, playful space with a distinctly 1970s sensibility. The reference is exuberant yet controlled, held in balance by Broom’s precise spatial orchestration.
The conservatory operates as its atmospheric inverse. Flooded with natural daylight, it centers on a King chandelier whose brushed gold leaves refract light across the room, scattering reflections that shift with the sun’s movement. Where the bathroom leans into surface and sheen, the conservatory feels animated by light itself.
Recent collaborations further expand the narrative. The Overture collection with Calico Wallpaper introduces trompe-l’oeil drapery motifs that echo the folded forms of Requiem, while Cascade – Broom’s porcelain lighting series for Lladró – extends his exploration of suspended luminosity into a different material language. These works reinforce the installation’s broader dialogue between craft, illusion, and sculptural presence.
In celebration of Art Week and Mexico’s creative culture, The Resident also incorporates works by Mexican artists carefully curated by Broom in collaboration with Diez Company. Materials such as stone, travertine, and marble appear throughout the house while spherical details and strong rectilinear compositions subtly echo Broom’s own formal vocabulary. The silhouettes converse quietly across rooms, reinforcing the sense that this is not simply a broader conversation.
In transforming the house into this sculptural tableau, Broom does more than exhibit lighting; he stages a lived-in meditation on gravity, material, and glow.
Learn more about the designer and his collaborators by visiting leebroom.com and diezcompany.mx, respectively.
Photography by Ema Peter Photography.