Mike Chen

  • Ipswich / Suffolk, UK


born in treves


2016 Trainer for Creative Media Apprenticeships
2014 HE Lecturer at Colchester Institute
2013 Course Leader of FE Level 2 Photography at The College at Braintree
since 2012 Lecturer at Colchester School of Art
2007 - 2013 Tutor for Photography and Photoshop at Suffolk New College
2004 - 2009 Tutor and Internal Verifier at CSV Media, Ipswich
2007 Tutor for Photography at Basement Gallery, Ipswich
2004 eyende - visions of seeing beyond

education and cpd

2015 APHE Membership
2012 PGCE (Professional Graduate Certificate in Education)
2010 BA (Hons) Photography
2009 Masterclass Summer Academy Venice
1989 Business Diploma
1986 Abitur


2016 Shotley, HMS Ganges
2016 Ginnel Foto Fest
2012 Colchester School of Art, Braintree Campus
2010 Ipswich, IP City Centre
2009 Venice, Palazzo Zenobio, Summer Academy Venice
2008 Windhoek, National Art Gallery of Namibia
2008 Ipswich, Frameworkshop
2007 Windhoek, with Ina Maria Shikongo, FNCC
2007 Ipswich, Basement Gallery


2010 Photography's Diversity in the Age of Digital Reproduction
2009 Close to noThing
2008 Namibia's Smile

research interest

Can Photography’s Diversity in the Age of Digital Reproduction be seen as the medium’s response to its Heritage in the Discourse of the ‘post’ Debate?

My research interest is concerned with the theoretical understanding of postmodernism and its relationship to photography. A main objective is to find out if or how far photography may have lost its tradition under the influence of technological improved processes. To understand the concept of postmodernism I am closely looking at the theories as expressed by French philosopher and literacy theorist Jean-Francois Lyotard and French sociologist Jean Baudrillard.

Complimentary to the broader perspective of the postmodernist period I also look at theories specific to photography. One being ‘post-photography’, mainly theorized by writer Geoffrey Batchen and the second being ‘late-photography’ as described by critic David Campany.

To establish how photography specific theories are settled within the wider concept of postmodernism I am accounting Andy Grundberg’s text 'The Crises of the Real'.

the full text is here:
Photography's diversity in the Digital Age