In this series, Sayuri Ichida studies constructive materiality within a limited domestic space. It explores the capacity to control lines and forms employing gravitational tension. She developed an interest in photographic sculpture after encountering Czech photographer Jan Svoboda's print, Space for Pink Picture (1972), which represents his consideration of the photographic medium in relation to sculpture. The great simplicity in his poetic photograph seemingly addresses a question of our consumer society. The postal code employed for the title - which also indicates the area where her photoshoot took place - is located in the heart of the ever-changing neighbourhood of Hackney Wick and was previously heavily industrial. All the objects and building 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 industrial structures and materials surrounding her. The visual dynamism in Constructivism influenced her perceptual composition, how the phenomenon of tension is utilized and how abstract arrangements of geometric forms are depicted. The relationship between the objects and the space left empty - or "Yohaku", a concept brought by Buddhist priest-artists from China to Japan in the 12th century - plays an essential role in this work. The silence between the lines invites contemplation. Photography is a reproduction of reality, and this work is Ichida's performative reproduction of debris left behind the urbanization.