Mark born in Carmel California, gave up a performing career in music when Ansel Adams introduced him to photography in the mid 1950”s. He was a participant in the first California Gifted Kids Program at Stanford University. In 1978, with encouragement from Robert Maplethorpe, he published the “Adam Without Eve” portfolio. He continued to work in large format photography until 1982 when he studied with Pierre Cordier who originated the Chemigram process. At this point Mark’s work underwent a dramatic change and he started working almost entirely with Chemigrams, producing a body of work that centered on themes such as the Holocaust and lost musical manuscripts. He also experimented with Polaroid materials, producing hand manipulated images as large as 4 x 4 feet in dimension. With the demise of Polaroid, today Mark works almost entirely in Kirlian photography and Chemigrams. Published recently In Marlin Fabbri’s book Alternative Photography: Art and Artists.
In 1942 my mother, Lavern Dubois, against better advice went on to perform the Mendelssohn E minor violin concerto in occupied Paris.
She fled to Switzerland that night just minutes before the Gestapo arrived pounding on her door. The stories that she would tell my brothers and me about the Nazi occupation were very chilling. Even though I was not witnessed to this horror the stories my mom would tell me left me with some secondary wounds. It is dedicated to the memory of those musicians/artists who disappeared during this horrific period.
It is a very personal body of work that I have worked on and off for 30+ years. Because of the heart wrenching subject matter I would take frequent and sometimes long term sabbaticals from the work. When spending hours in the dark room for me this project made me focus on this very painful and tragic period. I think of all the musical treasures, works of art and literature that were lost or destroyed, of the lives disrupted or worse, it is beyond my comprehension. I think of the Mozarts, Picassos and Mendelssohns lost from civilization, of the possible cures for heart disease and cancer.
This is my way of keeping the remembrance of that tragic era with us, praying that it will never be repeated.
This body of work to me is somewhat like a series of Bach variations on a central theme, where I explore the subject matter through a series of variations.
If my art has in any way the effect on the viewer that it has had on me, then I guess it has some worth.