Charlie Godet Thomas

 

 

Endpaper (Delete & Close Up), 2016
Pigment, paint, wood, rubber / 325 x 265 x 20 mm 

Installation views of A Method for Writing / A Method for Making 
BALTIC Center for Contemporary Art, 2014


Endpaper (Open-Form), 2016
Pigment, paint, wood, rubber / 325 x 265 x 20 mm


Enjoy the Trade Winds from the Comfort of an Air-Conditioned Bus (Thicket)
Timber, Speakers, Printed fabric, paper, glue, steel and looped 2.1 sound 
The Averard Hotel, London, 2016 

The sound file can be listened to here: https://vimeo.com/194375867 


Installation views of Strandline
Set the Controls for the Heart of the Sun, Leeds, 2017

Lines Written for and by No. 2, 2016
Digital photographic print on Hahnemühle Photo Rag / 920 x 640 x 35 mm 


Lines Written for and by No. 1, 2016
Digital photographic print on Hahnemühle Photo Rag / 920 x 640 x 35 mm  

 

The Poem in the Field, 2016
Wood, paint, screws, cast rubber, digital photographic print and elastic / 890 x 2580 x 130 mm 




It Stutters in its Little Lines (Façade), 2016
Digital print, wood, paint, window brackets 


Tercet, 2014
Three cotton labels stitched into the uniforms of invigilators at The BALTIC Center for Contemporary Art, UK 

A Carcass, 2015
Burnt fragments of a plasticised digital print depicting a dead Magpie, paint, wood / 90 x 110 cm (Each panel)  

Installation view of To be is to do, To do is to be, Do be do be do
Telfer Gallery, Glasgow, 2016 / Photograph: Mary Freeman


More on This Matter of Brevity Later (Boyfriend Pillow No.1), 2016
Printed cotton, thread, zip, Polystyrene beads / 120 x 25 x 30 cm / Photograph: Mary Freeman

Installation views of Torschlusspanik
VITRINE, London, UK, 2015

All Dolled up With Nowhere to Go, 2015
Cast rubber, string, metal, plastic 78 x 2.5 x 10


Detail of Scratching Each Other's Backs, Like Cans in a Sack (Drano), 2015
100 x 150 cm (Panel) / 120 x 50 x 1.5 cm (Cast)
VITRINE, London, UK  


Endpaper (Euphoric Grimace), 2016
Pigment, paint, wood, rubber / 330 x 270 x 20 mm

 


Fading Away Into Dust by Boredom No.1 (top) and Fading Away Into Dust by Boredom No.2, 2016
Cast rubber, digital print, elastic and cotton 

Endpaper (Ivy League Suicide), 2015
Pigment, paint, wood, rubber / 250 x 350 x 15 mm



Thicket No.2, 2016
Wooden dowel, adhesive, digital print depicting non-native Palm Trees (Arecaceae) that have been introduced to Aruba


Installation views of In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air 
Cactus Gallery, Liverpool, UK, 2014

Detail from Questions, Statements, Proposals, 2014
Stereo sound, speakers, speaker brackets, printed fabric, wood, paint, monitor 


Detail from Questions, Statements, Proposals, 2014 
Stereo sound, speakers, speaker brackets, printed fabric, wood, paint, monitor  

A combined sound and video file can be viewed here: https://vimeo.com/132243027 

Shit Brickhouse No.1, 2014
Plasticised digital print, glass, wood, hanging brackets
Escape to a Sparkling Moment, 2014
Digital print, paste / Bloc Projects, Sheffield, UK 

This Unremarkable Novel (Chicken Boxes), 2014
Folded, cut and glued prints on Hahnemuhle Photo Rag / Photograph: Harry Meadley 

Thicket No.2, 2016
Wooden dowel, adhesive, digital print


An Evanescent Fix, VITRINE Gallery, London, 2014
Jack Brindley / Keith Farquhar / Charlie Godet Thomas / Clare Kenny / Wil Murray

In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air (Jump from the South Portico), 2014
Wood, paint, pure pigment, printed cotton, varnish, evaporated water, screws / 134 x 94 x 4.5 cm  


Downward Spiral (Jump From the South Portico), 2014
Cast rubber, perimeter from a cropped photographic print, pure pigment, evaporated water, paint, mdf, hanging bracket / 30 x 24 x 1.5 cm 

Scansion (A Carcass), 2015
Cast rubber, wood, paint, perimeter from a cropped photographic print / 30 x 24 x 1.5 cm 

 

 Left Obscure, 2013
Cast Rubber, digital photographic print, paint, wood / 120 x 65 x 65 cm