In little over 14 years, autodidact and visually gifted Chilean photographer Andrés Barría has mastered the art of photo-poesy and tonal geometry to commemorate Mexico’s indigenous cultures, its enchanting fiestas, rites, and the tonal beauties of its peoples in the infinite quotidian. He conjugates the heroic symphony of Mexico’s vivid streets and squares, markets and rural villages with the mesmerizing visages, epic emotions and haunting landscapes to resurrect a land tormented between the sublime and the tragic, the transcendent and the immanent. Barria Davison’s camera, Mexico’s metaphor, is an exhilarating hermetic ladder ascending and descending the totalities of Mexico’s millenary and capacious existence the divine, the indigenous and the profane in order to evoke Mexico’s idyllic cosmic melancholy against its oblivion: a hurricane.
Born in 1966 in an artistic milieu, Barría Davison relocated from Chile’s Straight of Magellan near his native Punta Arenas to Chile’s Atacama Desert, and immigrated to Vancouver, Canada in 1995, and to Puerto Vallarta, Mexico in 2004.
Inspired by Casasola, Chambi, Alvarez Bravo and Garduño, Hector Garcia and Iturbide, Ortiz Monasterio, Koudelka and Kertesz, Cruz, Meyer and Salgado, Barría Davison’s photo-poesy spans Mexico’s odyssey in 20,000 riveting images. His photographs are fractals whose spirit is a Petrarchan sonnet. They conjugate cosmos and chaos, the divine and beings the cosmotheandric in light and shadow in a photographic poem whose octaves and sestets intimate presence and luminescence, and are resurrections of Mexico’s ancestral spirit gaze.
His atelier is renowned for its lyric bridal and rites of passage compositions, singularly captures with visionary symmetry the ominous splendor of Mexico’s fleeting odyssey, weaving equal sentiment with equal light, with superb artistry. Weddings, gatherings, and rites of passage transcend in the image, becoming idyllic symphonies in memory’s immanent tapestry.