Charlie Godet Thomas

 

 

 

Installation views of A Method for Writing / A Method for Making (solo show), 2014
BALTIC Center for Contemporary Art
Photographs courtesy of BALTIC Center for Contemporary Art  


Endpaper (To Turn Belly up and go Bang in the Noonday Sun), 2014
Cast rubber, pigment, leather dye, spray paint, found paper, hanging bracket and wood
35.5 x 30cm

 


A Heaping of Negatives (A Poem for Gottfried Benn in Three Stanzas), 2013-2014 
Installation views of A Method for Writing / A Method for Making, 2014
Photographs courtesy of BALTIC Center for Contemporary Art  

 

 

A Heaping of Negatives No.1 (A Poem for Gottfried Benn in Three Stanzas), 2014
19 x 24 cm  
Cast rubber, varnish, paint, wood, hanging bracket

 

A Carcass, 2014
Burnt fragments of a plasticised digital print depicting a dead Magpie, paint, wood
90 x 110 cm (Each panel)  

 

Installation views of To be is to do, To do is to be, Do be do be do (solo show), 2015
Telfer Gallery, Glasgow
Photograph courtesy of Mary Freeman 

 


More on This Matter of Brevity Later (Boyfriend Pillow No.1), 2015
Printed cotton, thread, zip, Polystyrene beads
120 x 25 x 30 cm
Photograph courtesy of Mary Freeman  

 


Endpaper (Vers Libre), 2015
Cast rubber, paint, pigment, wood, glue
25 x 33.5 x 1.5 cm
Photograph courtesy of Mary Freeman  


 

Blue Monday (Two Verses), 2015
21.5 x 28 x 1cm
Photographs courtesy of Mary Freeman  
digital print, cast rubber, pigment, wood, glue

 

Installation views of Torschlusspanik (solo show), 2015
VITRINE, London, UK

 

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

  


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

 

 

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

 


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

 

Endpaper (Ivy League Suicide), 2016
Pigment, paint, wood, rubber
250 x 350 x 15 mm

 


Installation views of In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air (solo show), 2015
Cactus Gallery, Liverpool, UK
Photographs courtesy of Cactus Gallery and Harry Meadley

 

Detail from Questions, Statements, Proposals (2015)
Stereo sound, speakers, speaker brackets, printed fabric, wood and paint


Shit Brickhouse No.1 (top), No.2 (middle) and No.3 (bottom), 2015 
Plasticised digital print, glass, wood, hanging brackets

 

This Unremarkable Novel (Chicken Boxes), 2015
Folded, cut and glued prints on Hahnemuhle Photo Rag 

 


Questions, Statements, Proposals (2015)
Stereo sound, speakers, speaker brackets, printed fabric, wood, paint, screen
00:03:31 (looped) 

 


Escape to a Sparkling Moment, 2015 
Bloc Projects, Sheffield

 


Left Obscure, 2014
Cast rubber, digital print, found object, paint, door wedge 

 


An Evanescent Fix, VITRINE Gallery, London (2015)
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), 2015
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  

 

 

Evil Knievel Died of Natural Causes (2013)
Cast rubber, pigment, lemon oil and found plastic bag on wooden bench

 

Watch me eat without appetite à la carte (2013)
Copy of The Financial Times painted from memory, paint and newsprint on bench

 

 

Endpaper (A Hint Half Guessed), 2016
Pigment, paint, wood, rubber
29 x 23.5 x 1.5