In little over 20 years, autodidact and visually gifted Chilean photographer Andrés Barría Davison 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. Since 2011, he has won many awards, most notably from the Worldwide Photography Gala Awards for his two novel Mexican images “Two Sisters and the Cat” and an “Old Lady in the Kitchen,” also selected by magnum photographer Steve McCurry and exhibited at the Borges Cultural Gallery in Buenos Aires. His chilean uncle, Tito Davison was a well known Movie Director and Screen writer at the Golden Age of Mexican Cinema, he made over 60 films and died in Mexico City in 1985. Inspired by Casasola and 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 commercial atelier, Andres Barria Photography and Photteka, 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. Andrés’ way to photography is to rip it apart to reveal an experience, a clearing, a freeing, a spontaneous release towards being, towards nature, as natural as Dylan’s ‘green fuse that drives the flower’ and as primal as Wordsworth’s ‘hour of splendor in the grass, and of glory in the flower,’ spontaneous release felt in being’s immanence, away from the superficialities of capitalism, its insatiable consumerism, but lost in the spontaneity of being amidst bliss and despair, and the heroic disposition towards survival. Photography which dwells and endures in the boundless, immanent, and capacious existence ever present in Mexico’s fabled, tragic tapestry, its ever-alluring mysteries torn between its mythic, spirit world, its calm  ever dreaming of its idyllic abode, its regained paradise, lost in its perennial nostalgia for what was once lyric with beingness and the ominous, transforming, and deforming threat to Mexico’s lovely, ancient abode posed by a frantic, industrial, technological post-modern world. Andrés sublime photography, a feat, never static, but of dazzling tonal beauty, dwells in the crepuscule, liminal horizon between presence and absence, existence and non-existence. It reveals all things beyond their particular, expressing universals of sorrow and hope, the love of the motherland, expressed in dulcet gazes and embraces, weathered by time, by age, revealing, too, Mexico’s tragic spirit inwrought in light and half-light, order and chaos, insinuating a flow, a constancy, where being is always in-between things, always dwelling amidst presence and absence, truth and oblivion, and the currents of change. Andres photography is a running stream, and an embroidered web, where every contrary gathers in unity: the ever-flowing motion of all things that are not, with those that are; mirroring, capturing spontaneous moments that flow from teary chaos to harmony’s joys, from sad desolation to lofty consolation. Immanent and transcendent photography, as fractal, whose spirit is a Petrarchan sonnet: it entwines all things, morning and night, light and shadow, earth and the cosmos, in its octaves and sestets longing for its dream, what luminescent ascent towards a sublime beauty that still evades, yet yearned for in Mexico’s spirit gaze, embracing the invisible and the visible, whose visual poesy is a plenitude desired.