When an anxious wife forbade her professional photographer husband from coming to Belfast, it led to a productive coincidence for local photographer Bill Kirk. The photographer worked for the English developers Building Design Partnership, who wanted to record the area as part of the restructuring process. Kirk was already involved in a personal project to document the area in 1974, having heard (while in college) that it was to be entirely redeveloped. The two projects found a natural fit, and the result is a series of irreplaceable images of a community in the throes of conflict and on the brink of major transformation.
Kirk says of his frequently moving images: “Social photographers are often accused of exploitation, but I see it as acknowledging people’s lives; of documenting our common humanity. That was a sense that I brought to all my projects, whether it was the events of Bombay Street in 1969 or the final days of the old Sandy Row. I felt it was important to have this record, that these lives were important. And that life here was not just about conflict.”
“I naively believed,” he adds, “that photography could make a difference.” This commitment is evident in the frequently moving, always captivating images, which are not only of vital historical significance, but also show a creative vision that is technically flawless and informed by empathy.

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