.                 .                .

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
VITRINE, Basel 

 

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





Installation views of What is it, This Time?, 2018
Lily Brooke, London,
Images courtesy of Lily Brooke 

The Clock at The Sailor's Arms, 2018
Electric motor, bookbinding tape, Paper, card, paint, glue, screws.
Image courtesy of Lily Brooke  


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), 2016
Timber, Speakers, Printed fabric, paper, glue, steel and looped 2.1 sound
The Averard Hotel, London  
The sound file can be listened to //vimeo.com/194375867

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


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

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 

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, 2015
VITRINE, London, UK

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

Illuminated Manuscript (Helios), 2018
Acrylic on Arches watercolour paper, pins, paper, acrylic box frame and screws

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

Illuminated Manuscript (Helios), 2018
Acrylic on Arches watercolour paper, pins, paper, acrylic box frame and screws

Cloud Study, 2017
Public sculpture commission Bermondsey, London 
Powder coated steel, bearing, grease, bolts  

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