Mark Chen’s journey into the world of photography began at the age of 15 when, during a year away from school to recover from a stomach ulcer, a friend introduced him to the magic of photography. What began as a curious exploration quickly transformed into a lifelong passion. Over the years, he evolved from a hobbyist to a commercial studio owner, then an Adobe-certified trainer, eventually earning an MFA from the University of Houston and establishing himself as an exhibiting artist, author, and educator.
Mark Chen, Houston Texas artist
Inspired early on by his mother, Shiaw-Nan Chen, a Chinese watercolor painter, Mark developed an appreciation for art that merged with his fascination for science. This unique blend of influences led him to create works that explore the mysteries of the universe, bridging art and science in thought-provoking ways. His career has flourished internationally, with exhibitions and collaborations around the world, each deeply rooted in his commitment to bring a fresh perspective to visual art through a scientific lens.
Background
LN: What initially sparked your interest in photography and visual arts?
MC: My journey in photography starts early. When I was 15, I was a sickly boy and was diagnosed with stomach ulcer. My parents took me out of school for a year to rest and recover. That was when a friend of mine showed me what he did in his high school's photo club. I was instantly hooked. That marked the beginning. Then I took a very long and windy road to go through the stages of a hobbyist, a commercial studio owner, an Adobe certified trainer, a book author(8 titles so far), then I went back to school to get an MFA and started my career as an exhibiting artist.
LN: How did your studies at the University of Houston shape your approach to photographic art?
MC: I approached graduate study as using the institution as resources, looking for the mentoring that I desired and keeping my radar scanning for interests and possibilities. And I did find them in those three years. Those three years were transformative.
LN: Can you tell us more about your early influences and any mentors who have significantly impacted your artistic development?
MC: My mom, Shiaw-Nan Chen, a Chinese water painter, was my earliest influence in art. She started painting soon after I was born. I can't remember it, but I can easily picture her holding me in one arm and painting with the other. I can't say I was influenced by the medium of her choice; in fact I rebelled against the Chinese stylistic approach: it is too spiritual and imprecise for me. I was very into science, I prided myself being good at it, and I envisioned myself a scientist. But the dream fell through. Astronomy, what I wanted to study, wasn't offered in Taiwan. Cutting this part of the story short. Even though I rediscovered my aptitude in art, I never stopped being fascinated by science, and I now practice my art at the intersection of art and science. My heroes are not photographers, they are scientists like Oppenheimer, Einstein and Feynman. Great photographers are my colleagues, I analyze what they do and find no mystery in them. Pilgrimage of Light — Mark Chen Photography
Sources of Inspiration
LN: Your work centers on the visual discourse on science and the environment. What drew you to these themes, and how do they influence your artistic process?
MC: My fascination with science and my training as a computer engineer make me a different breed of artist. I'm methodic and systematic. My current project Pilgrimage of Light, as linked to my website earlier, depends on a projector I invented to make large scale projections on landscapes. The content of the series is scientific, and the intention is to visualize the grand mystery of our universe. This series doesn't just speak to the art crowd, they appeal to science enthusiasts. I will be attending American Astronomical Society's conference to present this series there.
LN: Can you describe how you integrate various media, such as sound art, creative writing, and performance, into your photographic practice?
MC: In a way this integration happens internally in the viewers' minds. Our brains respond to different media in different centers. Visual art is rational and music is intuitive. Together they achieve fuller experiences among the recipients. My work is to create a recipe that blends these materials. To do that, I have to be fluent in the languages of painters, musicians and writers, etc.
LN: How do you aim to evoke feelings that can bring about changes in thoughts and behaviors through your art?
MC: I try to move them. Before that I can happen, I have to move myself. Do I feel the emotional impact, seeing my projected galaxies on the walls of Grand Canyon? I do. Now the question is how do I spread that feeling to others? You actually have a glimpse of it from the answers to the previous questions.
Current Projects
LN: What current projects are you most excited about, and how do they align with your overarching themes of science and the environment?
MC: (I'm more on scientific and less on environmental themes at the moment) You should know what excites me in my current project by now. My whole lifetime has prepared me for Pilgrimage of Light. Even my fitness prepared me for extensive backpacking, which is required for the project.
LN: Could you share some insights into your creative process when working on a new piece or project?
MC: I think a lot. Then I read a lot. Then I use my hands a lot and I don't hesitate doing legworks. I view the production process a constant interaction of the internal and the external. What's in the mind needs to be materialized, field tested, then there will be more food for thoughts, and so on, and so forth. I think and do, therefore I am.
Future Plans
LN: As an educator, what are your goals for the next generation of photographers and visual artists?
MC: I love to teach and consider mentoring the emerging artist part of my practice. I teach at University of Houston where I help young artists making their initial career moves. I aim to make them methodical in their practice, so they can adapt to an ever changing world—not just art world, but the world as a whole. AI will take over many jobs, but it will have a hard time taking over true creativity. We artists will have the last real jobs that remain.
LN: What new directions or themes are you planning to explore in your upcoming projects over the next year?
MC: Like I mentioned earlier, Pilgrimage of Light is the project of my lifetime. I will work on to expand and elaborate the series in the years to come.
LN: Are there any upcoming exhibitions, collaborations, or publications that you are particularly looking forward to?
MC: TAMU will host my next solo show. Mid America Art Aliance is programing a trio show for me and another two artists. Phantoms of The Great Dying will be in Fotofest Fall 2024 show and also in Text Biennial in the fall of 2024.
Teaching and Writing
LN: You have taught at several institutions, including the University of Houston and Houston Baptist University. How has teaching influenced your own work and artistic perspective?
MC: This has been covered earlier. I have great joy and inspiration from interaction with young artist. I pretend to be as young as they are, even though I'm getting older than their parents. I love methodology, and I continue to improve mine by testing all methods on myself and my students. Art is not that mysterious; it can be structured.
LN: Can you tell us about your latest book, "Photography: A 21st Century Practice," and what makes it a new standard in photography classrooms?
MC: A story first. When my first book was published, I was so proud I brough a copy back to Taiwan to show to family. My mom in law flipped through them in a span of days. She didn't read an English word. Then she said "not enough content". I was shocked and indignant. This feeling gradually changed over the years. Maybe she was right. Photography: A 21st Century Practice is my 8th title and aim to address the medium from all perspectives, sampling works from over 250 artists. It has, a LOT of Content. I asked my mother in law, looking into heaven, "does this have enough content?"
LN: What motivated you to write and publish books on photographic art and techniques, and how do you balance this with your artistic practice?
MC: Classrooms are my labs and books are my publications. I experiment in the former and show my result to the broader world in the latter. It doesn't need to be balanced with my practice; it is part of my practice.
Personal Insights
LN: What do you hope audiences take away from your work, both in galleries and through your books?
MC: Joy, knowledge and drive to live another day.
LN: How do you stay inspired and motivated in your artistic journey, especially when facing challenges or creative blocks?
MC: I don't have creative blocks. My enemy is lack of focus. I've tried lots of things that failed, including finishing a 80k words novel for which I can't find a publisher. I continue to search for my true voice. At the time being, I say Pilgrimage of Light is my true voice, but I'm not dead yet, so who knows what I will do next. I hope I can focus on the series now, because it feels honest and sincere to myself.
