We Folk

Christopher Anderson’s photographic fable Odyssey, takes us on a transcendental voyage, evoking a Homeric tale, that calls us from the sea to the rocks, into a dreamscape where light is sculpted across rock formations and figures. Presented as an outsized limited edition Artists Book, Odyssey is a visual poem, expertly printed in a unique quad-elemental process, as an edition of 750 numbered copies.

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Christopher Anderson began photographing his family in a completely organic way. His images were simply the natural action of a partner trying to stop time, and not let one moment of his relationships slip by. Marion, marks the closing chapter of a trilogy of books that chronicles their lives, and loves in beautiful depth over the course of their partnership. “It was never some sort of creative exercise. The photographs are expressions of love…a record of that expression. They are more than memories.” - Christopher Anderson

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The book includes both Anderson’s original images from Son (2013) plus 40 never before seen images.

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The spiritual sequel to ‘Son’, Pia takes as its subject Anderson’s second child. Featuring tender portraits of his newly-arrived daughter, this time the book tells of a search for hope in the era of Trump and Covid. Speaking of the work, Anderson says: “The images portray a father-daughter relationship as well as a photographer-subject collaboration as Pia takes control of her character. The passage of time comes with a certain melancholy, but also a declaration of hope that guides the photographs.”

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Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong. Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority.

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In this playful and poetic series, Andersons ties images together in a stimulating way. Portraits, candid moments, still lifes. They are photographs taken in passing, carefully arranged together. As a result, some of these images tell a clear story; others are less straightforward or even stray towards the abstract. The common thread that unifies the images is formed by recurring visual elements: the colour red, specific forms and patterns, a spectrum of sunlight that marks the end of day.

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Christopher Anderson’s photographs portray a contemporary China in the midst of perpetual reinvention. “I have seen the future and it is now and it is China. There is no need for the past. It can be erased. A new happiness is being constructed, an approximation of joy, better than the real thing.” – Christopher Anderson. The images are tightly cropped and extremely close up, bringing the viewer to an intimate distance where all context is removed, except for the ambient artificial light that illuminates the faces. The images are not a document of what people do. Rather they are a search for connection and recognition of self.

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As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theatre. Stump collects his colour and black-and-white photographs from campaign trails – particularly from the 2012 Obama/Romney contest – that scrutinise the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerising quality that is both frightening and hilarious.

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Following the birth of his son Atlas, Christopher Anderson stepped away from war photography, turning his camera towards intimate reflections of family life. “These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. They are a record of love and a reflection on the seasonal nature of life” - Christopher Anderson.

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Capitolio is Christopher Anderson’s cinematic journey through Caracas, Venezuela. Following in the tradition of such earlier projects as Robert Frank’s The Americans. It presents a poetic vision, of a city and a country that is ripping apart at the seams under the stress of popular unrest.

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