Mexico City, Mexico / 2023

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

Long Shifting Thresholds / Knotenpunkt Art Foundation, London

Works from the series On the Up and Up / Various materials including salvaged card and cardboard, acrylic, wood, expanding foam, plaster, pencil, hagstones, glue and stair spindles

Dysfluent Song / Cut metal pans, water system / as installed at Vitrine, Fitzrovia, London, UK

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

Downfall / Acrylic and pencil on newsprint / The Bermuda National Gallery, Bermuda

Infinite Clock / Steel, paint and lighting / Permanent installation at the old clock tower at Vernacular Institute, 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 / Vernacular Institute, Mexico City

Fractured Poem / Acrylic on newsprint, chainlink fence / Vernacular Institute, Mexico City, Mexico

TOP: Installation View of How to Make a Painting Behave Like a Landscape / Jumex Museum, Mexico City, Mexico / MIDDLE: Water Hollows Stone / Wood, Acrylic, Fixings and fittings, steel cable / BOTTOM: Water Murmurs / Acrylic on wood, steel brackets, screws, steel cable, LED lighting fixtures and electrical cable

Detail of To Autumn (Soft-lifted) / A Circus of the Soul at Vernacular Institute, Mexico City, Mexico

TOP: Details of The Unmonitored Patient (New Growth) / Found branch, newsprint, paper and acrylic paint / Colector, Mexico / MIDDLE AND BOTTOM: Installation views of At the Window, Staring / Colector, Monterrey, Mexico

Works on paper from the series The World as a Body in Crisis / Colector, Mexico

LEFT AND CENTER: Cloud Study / London, UK / Commissioned by VITRINE for SculptureAT / RIGHT: Cloud Study (Heavy Weather) / Private Collection, London, UK

Detail of Cloud Study (Partner Dance) / Presented by Vitrine for FRIEZE Sculpture, Regent’s Park, London / Curated by Claire Lilley

Installation image from To The Core / Curated by Elaine Tam and Anaïs Lerendu / White Crypt, London

TOP: Up in Smoke at Sundown / Oil, pencil, acrylic and newsprint on linen / Karen Huber Gallery, Mexico City, Mexico

MIDDLE AND BOTTOM: Up in Flames / Cut brass / Colector, Mexico

Detail of Endless Summer / Resin, glasses, lipstick, embroidered tablecloth, ashtray, fan, bottles, chain and jewellery letters / Colector at Salon Acme, Mexico City, Mexico

(Wel)come Back, (Wel)come Home / Laser cut steel, steel poles, steel cable, paint, fittings and fixtures / The larger orange and yellow version (top) was by commissioned by BrookeBennington Gallery for Canary Wharf, London, UK / The smaller raspberry and pink version (bottom) was commissioned for JOHS Gallery, the curator for which was Fabiola Talavera.

(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 maximum economy”. 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. 

Sick Home / Laser cut steel, pencil, magazines, glue, coloured pencil, acrylic and pins on newsprint / JoHS Gallery, Mexico City, Mexico

Works from the series Dereliction and Diction (2023 – Ongoing)

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. 

Bottom Image: Part of the work was loaned for display by the students of the Escuela Normal for the exhibition Construir, Habitar, Crear at Museo San Ildefonso, Mexico City / Curated by Alberto Ríos de la Rosa and Juan Pino  

LEFT : Time is Money and Money is Power / Neon, transformer, electricity / Colector at Salon Acme, Mexico City, Mexico / RIGHT: Fool’s Gold / Neon, transformer, electricity / Assembly Point, London, UK

Works from the series In the Rearview (2024 – Ongoing)