“It’s time for a walk.” A common enough sentence . . . a common enough occurrence. Something one does to “take in the fresh air” or perhaps to “clear one’s thinking.” Not so common, however, is the use of such a statement to describe one’s next overseas adventure.

For photographer, Ray Marklin, “taking a walk” is a photographic travelogue, an exploration of place and of people. Such “walks” have led him to explore the rugged terrain of south America, the isolated heights of mystical Tibet, the varied cultures of southeast Asia, as well as the changing landscape of China and Russia, . . . and that is to name only a few of his intrepid jaunts. “It’s time for a walk” has truly taken on an entirely novel and exciting connotation in the life of Ray.

Taking in fresh air and clearing thoughts certainly happen during Ray’s travels. And, although the exploration of place is the obvious and perhaps proverbial starting point, the more compelling aspect of Ray’s travel emerges when connections and relationships are forged with the people he encounters. “Taking a walk” [for Ray] can be likened to the process of building bridges . . . the assessment of environment, the discovery of connections between people and places, the engineering and subsequent construction of such connections. Ray’s walks, however, quickly transcend the physical to function in the emotional, the intellectual, the visceral realm of experiencing varied landscapes and myriad cultures. Ray is not only a keen observer, he truly is a participant in the adventure and it is through this process of integrating observation and participation that we are given a powerful body of photographs, an insight into worlds unlike yet familiar to our own.

Of course . . . it is not simply a matter of what one sees and experiences, it is how one processes, interprets, then offers such information. Thus, as you move through the gallery to view photographs of landscapes, architecture, and people . . . consider “why” then “how.” Why was this photographed, why was it photographed in this manner, why were certain people selected to portray, etc. Then move to “how” these considerations alter/inform your perception of the work. Such considerations are for you, the viewer, your point of departure.

This exhibition is a passport . . . each photograph a port of entry. Happy trails!