Sayuri Ichida: On Absentee
What does the word ‘Absentee’ mean to you – and why did you feel this was the right title for your project?
For me, “Absentee” captured that internal distance I felt during the COVID lockdown. It was a time of depression and strain, and I needed a mental space to retreat from that reality. In a way, it felt like I had to be absent from myself at times to get through it. The title held that emotional truth.
Did you always envision the project to exist as a book?
From the very beginning, I envisioned “Absentee” as a book. Just before this series, in 2019, I took a photobook-making masterclass with Reminders Photography Stronghold in Tokyo, led by Yumi Goto. That gave me a strong foundation in bookmaking. So when “Absentee” emerged, I had a clear vision of it becoming a book. In fact, I created diptych portfolios to build sequences, already thinking about how it could shape a book’s narrative.
How did your collaboration with Tomas Laczny begin? What was this experience like, and did you find it challenging to collaborate on a deeply personal body of work?
My collaboration with Tomas Laczny came about quite naturally, as he is both the designer and my partner. We were living and working in the same space, so the collaboration unfolded organically. Even as we worked on the book, I continued adding new images to the project. His perspective helped me identify what was missing, so I could plan my shooting more thoughtfully. Because he knows me deeply, it wasn’t challenging at all—it allowed the project to grow in a way that felt both personal and considered.
What is something you learnt during this process?
During the process, I learned to let ambiguity breathe. With the extra time, I explored pairing unlikely images, playing with diptychs, cropping, and re-photographing prints. I realised the series could evolve and didn’t need fixed meaning. That playful experimentation deepened my practice.
How did you decide which images to include – and to exclude – within the book?
When selecting images, I focused on the rhythm of connection. Sometimes I paired visually similar images; other times, I sought complete contrast. The gatefold structure—alternating two-page and four-page spreads—helped me decide. Each sequence had to have a dialogue, either in harmony or tension.
Is there a particular image within the book that you feel most attached to – if so, why?
I feel most attached to the opening four images. These four out-of-focus headshots of myself—taken alone in the bathroom during the isolation of the COVID lockdown—capture a deep sense of loneliness. Beginning the book with that gatefold makes them iconic, establishing the emotional tone.
What did you hope readers would feel when interacting with the book, and how did this influence its design?
Since many of the early images were taken at night while walking the streets due to curfews, I wanted readers to feel that nocturnal solitude. To reflect that, we printed the book on deep matte black paper and used silver ink, enhancing the atmosphere of night and the feeling of wandering alone.
What helped you stay grounded during the making of the book?
What kept me grounded was the desire to stay creative in lockdown and to reach a wider audience. As we shifted to digital communication, I deeply missed physical connection. Focusing on creating a book that people could hold in their hands kept me motivated. That tangible goal gave me focus and balance throughout the process.
‘Absentee’ consists of black-and-white images, but in your photobook, they appear as silver risograph prints on black paper. Similarly, in your Daiwa exhibition, the images were printed onto Kozo paper, giving them a greenish tint. Why did you choose to present the images in this way?
In the book, the black paper and silver ink reflected the universal loneliness of lockdown. In contrast, for the exhibition, I chose Japanese Kozo paper to honour my heritage and introduce a tactile warmth. The natural fibres and unbleached tone complemented the body imagery, creating a sense of intimate closeness. In short, the book conveyed isolation, while the exhibition offered warmth and intimacy.
You have mentioned that tactility is an important element of your work. How has this influenced your approach to photography and bookmaking?
The image is essential, but I treat paper, printing, and framing with equal care. Tactile choices shape the experience. For instance, had I chosen glossy paper for “Absentee,” the emotional resonance would have changed. Tactility ensures that the viewer’s experience aligns with my intention.
You have also stated that “timelessness is the most important part” of your work, and that you “always try to be as far as possible from anything fast”. How do you achieve this sense of timelessness within your work?
To achieve timelessness, I focus on anonymity and subtle ambiguity. In portraits, I rarely show faces, and in landscapes, I avoid identifiable markers. This mystery gives the work a sense that it’s not tied to any specific moment or place. By keeping the “when” and “where” elusive, the image floats outside of time.
Lastly, the theme of our debut publication is ‘home’ — How has relocating several times during your life affected your practice? In what ways did different places influence your work?
Relocating multiple times led me to question identity and belonging, which shaped projects like “Ctrl Shift + J.” In recent years, however, I have come to see that home is wherever I stand today. While my work often raises these questions, this ongoing journey continues to inform my practice.
Founded by Niharika Pathak and Noam Dee, FOUND is a cross-cultural photobook publishing platform and artist collective based between Japan and the UK. We bring together photographers to explore publishing as a space for dialogue, exchange, and connection - extending beyond the book as a purely physical form.
Join us in this ongoing conversation through our upcoming publications, research, and workshops!
ニハリカ・パタックとノアム・ディーによって設立されたFOUNDは、日本とイギリスを拠点に活動する、クロスカルチュラルなフォトブック出版プラットフォーム兼アーティスト・コレクティブです。私たちは写真家たちをつなぎ、出版を対話・交流・つながりの場として探求しています。書物を単なる物理的な存在として捉えるのではなく、その枠を超えた広がりを目指しています。
今後の出版物、リサーチ、ワークショップを通して、この対話にぜひご参加ください。