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A Personal Photo Record of London Gentrification

Rhianne Clarke photographs her hometown Greenwich for a portrait of a rapidly gentrifying London borough.

In Rhianne Clarke’s series There’s Room Enough for the Both of Us, the photographer documents the changing landscape of her hometown, the Royal Borough of Greenwich. Probably best known as the origin point of Greenwich Mean Time, formerly the universal standard by which all clocks were set, Greenwich is one of many London boroughs experiencing fast-paced gentrification.

“I have lived in Greenwich my whole life, as has my mother before me. Greenwich has always been considered a beautiful place, a global spectacle steeped in history. The photographs seen here look away from this usual rendering, instead, exploring its urban tissue,” Clarke explains.

Greenwich has undergone a dramatic period of change since the new millennium. There’s Room Enough for the Both of Us is Clarke’s effort to remember her home through photographs. “By cause of Greenwich’s rapid gentrification, many of the monuments to my childhood memories have been erased. These photographs shouldn’t be seen as a document or record of gentrification, but instead an exploration of a moment in our time that only the locals of the area will encounter.”

By focusing on small, seemingly insignificant details, There’s Room Enough for the Both of Us invokes the “impermanence, both fragile and fleeting” that Clarke sees in her hometown. The images feel like they were snapped quickly, perhaps as Clarke was on her way somewhere else. On one level, the work is a personal documentation of one photographer’s experience of her changing London borough, but the sense of haphazard urgency that characterizes the images resonates much further. What photographer hasn’t experienced the desire to compulsively photograph a place that they are about to leave?

Find more of Rhianne Clarke’s work at her online portfolio, built using Format.

More photography series:
Suburban English Life Photographed by Danielle Madeley
Yota Yoshida’s Tokyo Street Photography Is Surprisingly Peaceful
Sam Stone’s Lonely American Landscape

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