The Unfinished Floating World | Jumex Museum, Mexico City

The “tide line” of this work was painted incrementally during the duration of the exhibition revealing the text as is rose, until it was fully legible for the final week of the show.

Fluctuating Song (Light) | NASAL, Mexico City, Mexico

This work used the sun and the architecture of the skylights in the gallery to project a text which moved across the walls through the day.

Asides and Illustrations \ London, UK

Two images documenting a performance which closed the solo show “Little Sound” at Vitrine Gallery, Fitzrovia, London, UK

The ceiling of my studio in Mexico City taken by photographer Lily Bertrand-Webb (https://lilybertrandwebb.com/)

Slow Climb | Salvaged card and wood, glue, acrylic paint, bamboo and expanding foam.

Documentation from the performance of “Asides and Illustrations ” which closed the solo show “Little Sound” at Vitrine Gallery, Fitzrovia, London, UK | Performed by Kennedy Jopson and Charlie Godet Thomas

Dysfluent Song | Cut metal pans, water system | As installed at Vitrine, Fitzrovia, London, UK

Reading at Vernacular Institute, Mexico City, Mexico

Infinite Clock | Steel, paint and lighting

Permanent installation at the old clock tower at Vernacular Intitute, Mexico City, Mexico

Time is Money and Money is Power | Neon, transformer, electricity

Detail of Endless Summer | Colector at Salon Acme, Mexico City, Mexico

Documentation of Endless Summer | Colector at Salon Acme, Mexico City, Mexico

Fractured Poem seen from the street with curator Jo Ying-Peng. The shutters to the street were kept open for the duration of the exhibition / Photographer unknown

Fractured Poem | Chainlink Fence, cut newsprint, acrylic paint | Vernacular Institute, Mexico City, Mexico

Cat in top image: Scorpio

Tests on the roof of the studio for Fractured Poem, Mexico City, Mexico

Dog: Lupita

Intallation views of At the window, staring at Colector, Monterrey, Mexico

Details of The Unmonitored Patient (New Growth) | Found branch, newsprint, paper and acrylic paint.

VOTA \ Mexico City, Mexico

Text painted on the street, which made use of political campaign paintings in the city.

Cloud Study (Partner Dance) | FRIEZE Sculpture, Regent’s Park, London, UK

Curated by Claire Lilley

And So On And So On | Pigmented Oasis funereal foam letters cast in pigmented concrete

From:To The Core curated by Anaïs Lerendu and Elaine Tam | White Crypt, London, UK

The Message (2023) is the result of a project which was made by Charlie Godet Thomas, in partnership with the Escuela Normal in Rio Grande, Oaxaca, supported by Fundación Casa Wabi. The work is formed of three painted  steel pieces which are housed at the entrance of the institution, they are not fixed and can be lifted off of their brackets at any point by the students or staff. The pieces are designed to fit to a standard piece of timber such as those used for brooms or mops, the idea is that the pieces can be taken to protests and marches by the students as and when they want. 

The Message was developed through a series of conversations between Charlie Godet Thomas and the students and staff at the school, the discussions focused on the history of pairing imagery and text in socialist and communist movements, after which the students made suggestions as to what imagery and language might be best suited to express their concerns. 

Thomas subsequently made five different designs from which the students and staff voted for the final three, bearing the words “Education, Freedom and Unity” alongside images of broken chains, open books, a raised fist and growing tendrils and leaves.

The work is the property of the Escuela Normal in Rio Grande, Oaxaca.   

Up in Flames | Various usable ashtrays distributed inside and outside the space for, “At the window, staring”, a solo show at Colector in Monterrey, Mexico

Downfall | Acrylic, pencil, coloured pencil and glue on newsprint

Show at a part of The Bermuda Biennial at The Bermuda National Gallery, Hamilton, Bermuda

(Wel)come Back, (Wel)come Home | Laser cut steel, steel poles, steel cable, paint, fittings and fixtures | Canary Wharf, London, UK | Commissioned by BrookeBennington Gallery, London, UK

(Wel)come Back, (Wel)come Home is composed of two metal replicas of paper “banners” which you might see on your return to either an office or home respectively. Some of the letters appear to have been torn or lie on the ground, having fallen from the “string”. This “damage” to the banners shifts the mood of the work to one which is altogether more desperate than the whimsical tone of that originally intended.

(Wel)come Back, (Wel)come Home is an elegy of sorts, one which sits precariously between poetry and sculpture, and which is emblematic of Thomas’ interest in what he describes as “a poetry of maximumeconomy”. Thomas has described the works as marking some of the post-pandemic shifts and realignments between the environments of the office and the home and their increasing interchangeability, asking what it might mean for us to sacrifice parts of our most personal and intimate spaces for the comfort and economic benefit of those who employ us. 

Reference image from my personal Archive | Photograph by Charlie Godet Thomas

All the Words for Goodbye | Rearview mirror, fragments from magazines, pharmaceutical packaging, card and paper, string, brass | The Bermuda National Gallery, Hamilton, Bermuda

Documentation of Rose Dagul performing in response to Dim Lit, a solo show at Assembly Point, London, UK

Illuminated page from Moyra Davies’ Index Cards (Fitzcarraldo Editionns) | Shown at part of the group show “Spoken Word Gallery”, Casa Margarita, Mexico City, Mexico | Curated by Francesco Pedraglio