Christopher Anderson: Pia with balloon in Gràcia, Barcelona, 2016

Christopher Anderson’s ongoing documentation of his family—his wife, Marion, and their two children, Atlas and Pia—unfolds with the poetry, tonality, and cinematic drive of The Red Balloon. Beginning with the birth of his son in 2008, Anderson, a Magnum member who has photographed Haitian refugees on a sinking boat, political turmoil in Caracas, and former president Barack Obama, turned his camera on his family.

The moments Anderson seems drawn to aren’t dramatic or narrative—none of the usual occasions of family snaps, no birthday parties, no hammy smiles. Instead, he captures an everyday love and the naturalness of human connections—the ease of familiar bodies finding each other, the sparks of daily rituals. Specifics of time and place are less important than emotional resonances. “For me,” Anderson says, “spontaneity is the central fuel in these images.”

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