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About Sory Sanlé: Volta Photo 1965–85
Product Description Burkina Faso photographer Sory Sanlé (born 1943) started his career in 1960, the year his country (then named République de Haute-Volta) gained independence from France. Sanlé opened his Volta Photo portrait studio in 1965 and, working with his Rolleiflex twin-lens, medium-format camera, Volta Photo was soon recognized as the finest studio in the city. Voltaic photography’s unsung golden age is fully embodied by Sory Sanlé: his black-and-white images magnify this era and display a unique cultural energy and social impact. This is the first monograph on Sanlé’s work, which examines the natural fusion between tradition and modernity. Sanlé documented the fast evolution of Bobo-Dioulasso, then Burkina Faso’s cultural and economic capital, portraying the city’s inhabitants with wit, energy and passion. His work conveys a youthful exuberance in the wake of the first decades of African independence. In many ways, Sanlé’s subjects also illustrate the remoteness and melancholy of African cities landlocked deep in the heart of the continent. “Mr. Sanlé’s work documenting the cultural scene is reminiscent of that by Malick Sidibé and Seydou Keita ... and now it is his turn to be lionized.” –The New York Times Review ... his sitters frequently adopted an air of theatrical confidence, to joyful effect. (Bruce Jacobs Shelf Awareness) Sory Sanlé's best photograph: the studio where dreams came true. (Eward Siddons The Guardian) Sory Sanlé's best photograph: the studio where dreams came true (Edward Siddons The Guardian) Everyone from funeral parlour drivers to pirate movie aficionados were welcomed into his studio, where they were offered hairbrushes, plastic toys, boom boxes, T-shirts, sunglasses – you name it. 'Customers wanted to hold something in their hands,' Sanlé recalls in the book. 'They sometimes wanted to borrow suits, hats and neckties I had at my disposal.' (Michael-Oliver Harding Dazed Digital) ...features more than 125 never-before-seen images, to be displayed alongside his iconice shots of sub-Saharan hipsters showing off their bell-bottoms, wristwatches, radios and James Brown records... (Leslie Camhi T Magazine) The photographer’s lens sought rich people, poor people, religious people, artists, musicians, everyone could become a hero at his Volta studio. (Clara Hernanz Wonderland Magazine) ... his sitters frequently adopted an air of theatrical confidence, to joyful effect. (Daisy Woodward Another Man Magazine)
