In this series, Sayuri Ichida examines constructive materiality within a limited domestic space. The work explores the capacity to control lines and forms through gravitational tension. Her interest in photographic sculpture developed after encountering Czech photographer Jan Svoboda’s print Space for Pink Picture (1972), which reflects his consideration of the photographic medium in relation to sculpture. The striking simplicity of his poetic image appears to question aspects of our consumer society.

The postal code used as the title — which also indicates the area where the photographs were made — refers to Hackney Wick, an ever-changing neighbourhood in East London that was once heavily industrial. All the objects and fragments of construction debris depicted in the series were collected on the streets near her studio.

Having spent her childhood in Kitakyushu, one of Japan’s leading industrial centres, Ichida developed a fascination with the structures and materials of industrial environments. The visual dynamism of Constructivism informs her compositional approach, particularly in the way tension is employed and abstract arrangements of geometric forms are constructed.

The relationship between objects and the space left empty — or yohaku, a concept introduced to Japan by Buddhist priest-artists from China in the 12th century — plays an essential role in this work. The silence between the lines invites contemplation. Photography is often understood as a reproduction of reality; here, Ichida creates a performative reconstruction using debris left behind by urban transformation.