I Am Sparkling: N.V. Parekh and His Portrait Studio Clients - by N V Parekh & Isolde Brielmaier (Hardcover)

Book Synopsis

A previously unseen trove of Kenyan studio portraits, expressing a photographer's vision and a city's lively identity

When the Kenyan-born photographer N.V. Parekh opened his Mombasa portrait studio in 1942, the city was galvanized. People came to visit Parekh from all over East Africa to mark important events such as weddings, reunions, graduations and birthdays. By the 1960s, Mombasans of all ages and backgrounds were visiting the studio by themselves, or with their friends, spouses or lovers, to stage playful, even daring portraits that enabled them to express and reveal themselves uniquely. Depending on his client's wishes, Parekh worked to create portraits that ranged in tone from formal and elegant to hip or sensual, strongly influencing a vibrant visual culture in Mombasa.
I Am Sparkling is the first ever overview of this historically significant photographer, his clientele and the temporal, geographical and cultural milieu in which he flourished. Rarely accessed until now, Parekh's personal archive went out of circulation following his retirement to Britain in the late 1980s; it was acquired by the Italian poet and artist Sarenco in 2001. This volume draws on this photographic archive along with extensive interviews with Parekh's diverse clientele, and is complemented by NYU professor Isolde Brielmaier's rich historical context and analysis with a particular focus on women as clients of studio photographers. The artist Wangechi Mutu contributes a preface.
N.V. Parekh (1923-2007) emigrated with his family from India to Mombasa, where he trained with local photographers in the 1930s before founding his own portrait studio in 1942.

Review Quotes

Her fieldwork approach, common in other areas of the humanities but rare in the history of photography, yields extraordinary insights.--Brian Wallis "Aperture"

I Am Sparkling is remarkable for its extensive interviews with Parekh and his family, but also for Brielmaier's deep research.--Mallory Cohen "Hyperallergic"

The element of performance is integral to photographer N.V. Parekh's work, as sitters were free to imagine their identities beyond the traditional markers of class, religion, status, gender, and ethnicity.--Sara Rosen "Blind"

Offers a counter-narrative to engaging with African photographic archives as well as photographic histories at large.--Noa Wynn "Brooklyn Rail"

Parekh saw his clients as they wanted to be seen. With them, he imagined new worlds and identities...There is power in this collaboration between sitter and photographer, and unadulterated joy, too.--M.Z. Adnan "New Yorker"