In my view, Silence is not Golden, but Speech is. An interview with Fumiko Gotô

As an architect, one often experiences space primarily through sight and through an overall sense of atmosphere. But in your work, and particularly in the series TACTILE, touch seems to take the lead. As if that tactile contact might reveal something beneath the surface.
Why is this dimension so present in your work? Was it an intentional part of the process from the very beginning?
Fumiko Gotô: As the title Trilogy: Echoes of Babel, Adorned Words suggests, the theme of the exhibition is language and the diverse ways we communicate. Each of the three series explores this concept through a different lens, with equal emphasis and intent.

In TACTILE, touch becomes a way of reading—Braille, here, specifically using Marburg spacing, invites the viewer to access language through physical contact. SERIF examines the ornamental beauty of typography, while ENCLOSED explores the hidden, mystical power of words, even kept out of sight.

Architecture is also tactile. We navigate space not just by seeing it, but by interacting with it—turning doorknobs, pressing light switches, reading signs. These physical actions may be subtle but meaningful interactions with space.


Brooch: Perpetual (Blah, Blah, Blah, Blah), 2025. Buffalo horn, silver.925 6 x 5.8 x 0.9 cm.Available at Hannah Gallery. 


The Tactile series seems to carry a voice, perhaps more personal than in your previous series. Could you tell us more about the role your concept plays in what you create?
For TACTILE, my interest lies in exploring how communication is transmitted through written, spoken and sensed language.
My creative work always begins with a concept. A moment of curiosity provokes my ideas; sometimes it lingers unconsciously for a long time, and other times it quickly unfolds into a clear vision and execution.
My inspiration stems from what humans have created—objects, tools, language, design. The visual aspects of my work are shaped by my own artistic and design language.


Silence is golden is the title of one of the brooches.
In your view, when it comes to the role of the artist, is silence still golden or does the artist have a responsibility to speak?
In my view, silence is not, but speech is golden.
This is the reason why I employed 750 gold in the piece SPEECH IS SILVER of this diptych piece, referencing Winston Churchill's quotation.
I believe Artists have a responsibility to speak, at the very least, clearly express the concept behind their work. Every creative piece begins with an idea, and it deepens the viewer’s experience and connection to the work when that idea is shared.


Brooch: Silence is Golden (W. Churchill), 2025. Buffalo horn, silver.925. 11.8 x 2.4 x 1.1 cm. From series: Tactile. Available at Hannah Gallery. 


Brooch: We All Scream, 2024. Silver.925, Mammoth Tusk, Poem, Paulownia frame case. 


Your previous series seem to be in dialogue with one another. Is there a common thread running through the different bodies of work?
Yes, there is a common thread. My inspiration stems from what humans have created—decorative and functional objects, architectural details, sweets, tools, as well as written texts like poems and essays. These serve as the conceptual essence of my work. While the visual language and forms may vary, the underlying curiosity remains the same.


The pieces we presented at the gallery in your previous exhibitions are strongly rooted in Japanese culture and its visual vocabulary. Is it a conscious intention to evolve toward a more "universal" language? If so, why?


Fumiko Gotô. Brooches: Hamaguri 03BHPR and Hamaguri 02BHAG, 2022


When it comes to building a solo exhibition, is the process guided by a clear narrative or is it more intuitive?
Could you share how you go about selecting and structuring the works, and how your collaboration with a gallery helps shape that process?
It was a natural course to select the three series for my solo exhibition, through which the same theme flows. SERIF explores the ornamental aspect of typography, with certain letters selected “intuitively”. ENCLOSED examines the power of words, especially the hidden ones. In ancient Japan, it was believed that every word possesses a soul, known as Kotodama. For this series, I selected epithets from Waka-poems, each written and sealed within brooches, relating to the five physical senses and the sixth sense of mind consciousness. TACTILE traverses the use of another physical sense—touch—as a means of reading beyond sight.

One of the most gracious aspects of working with a gallery is the personal and physical space it offers. I consider my work as object jewellery—not only to be worn but also to be displayed. In the intimate setting of Hannah Gallery, I explore the relationships between the pieces and the room itself. Just as furniture or art placed mindfully in a space can spark a dialogue, that spatial dialogue is an indispensable part of an exhibition.

I'm deeply grateful to the gallerists for placing their full trust in my selection and the arrangement of the works. Their openness and support were essential—without this trust, the communicative potential of the exhibition could not be fully realised.


SERIF series by Fumiko Gotô displayed at Hannah Gallery.