Charlie Godet Thomas



Speak not Loud or Long (2017)
Cast rubber, perimeters from cropped photographic prints, wood, paint and hanging brackets


O H  / MOTHER (2017)
Oasis® foam letters cast in concrete 

Your Shadow at Morning Rising to Meet You (2017)
Cast rubber, perimeter from a cropped photographic print, wood, paint 
250 x 350 x 15 mm 


Installation view of Roman-fleuve (2017)


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 (2014)
BALTIC Center for Contemporary Art


A Sinatra Dinner Show (2017)
Video (00:02:02 - looped), 2.1 sound, collaged timber and speaker fabric  


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 //


It Stutters in its Little Lines (Façade), 2016
Digital print, wood, paint, window brackets
Caribbean Linked, Atelier '89, Aruba 

Overleaf (2017)
Cast rubber, Perimeters from cropped photographic prints, paint, wood, hanging bracket
300 x 250 x 15 mm   

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 

Poem for Ignatius (Clean Slate), 2017
Cast rubber, Digital photographic prints, wood, paint  

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


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

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)

Installation views of Bildungsroman (2017)
Carillon Gallery, Texas, USA 

Your Shadow at Morning Striding Behind You (2017)
Cast rubber, perimeter from a cropped photographic print, paint, wood, hanging bracket  


Installation views of Internal Rhyme (2017)
Ladrón Galería, Mexico City, Mexico 

Escape to a Sparkling Moment (2014)
Digital print, paste / Bloc Projects, Sheffield, UK  

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: 

Shit Brickhouse No.1, 2014
Plasticised digital print, glass, wood, hanging brackets


Cloud Study (2017)
Powder coated steel  

Left Obscure (2013)
Cast rubber, digital photographic print, wood, paint, varnish 

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