Charlie Godet Thomas

Charlie Godet Thomas is concerned with the connections between visual art and literature, the act of writing, the autobiographical, the tragic and the humorous. His work is summoned from unlikely places; be it street signage, American drain cleaning products, documentaries about motorcycle stuntmen, or an extensive archive of personal photographs.

Trauma and photography have some similarities that intrigue Thomas, namely that a traumatic experience can render a moment continually present in a person’s life, whilst photography has the same ability to hold a moment still, ever recurring by proxy of the image. His manipulation of his source material towards total abstraction comes from his desire for the images to be something else, the works become, as Thomas says, “Liberated from the brutality of their content.”

A recurring motif in Thomas’ work is an insinuation of weight and movement, which he achieves through playing off of one material against the other. Cast rubber is used to hold images or leave them slumped corporeally on the floor, rubber walking sticks hang forlornly through the space or thin wooden dowels are held in tension seemingly ready to snap at any given moment.

Thomas is keenly aware of the crossover between artists and writers, images and words. Titles and phrasings are essential in his practice, some are jokes and witticisms, whilst others point us towards artworks, books or poems, which may give us a way into his heavily coded practice.

In recent audio and video works, Thomas sources and re-presents found texts, projecting the words into a space of contemplation and stillness for the listener away from the context in which they were originally written. In a deadpan voice, Thomas speaks the words in a continual loop, pointing us towards the inconsistencies and problems of language.

 

Charlie Godet Thomas (b.1985, London. British/Bermudian) currently lives and works in London. Having studied a BA in Fine Art (Sculpture) at Manchester School of Art in 2009, he graduated with an MA in Fine Art (Sculpture) from the Royal College of Art, London in 2014 where he was awarded the Bermuda Arts Council Scholarship and the Peter Leitner Scholarship.

Thomas’ first major solo exhibition was ‘A Method for Writing/A Method for Making’, BALTIC Center for Contemporary Art, Newcastle, UK (2014); further solo exhibitions include: ‘Roman-fleuve’, VITRINE, Basel (2017); ‘Internal Rhyme’, Lardrón Galería, Mexico City (2017); ‘Bildungsroman’, Carillon Gallery, Forth Worth, Texas (2017); ‘Strandline’, Set The Controls For The Heart Of The Sun, Leeds (2016); ‘Torschlusspanik’, VITRINE, London (2015); ‘To Be Is To Do, To Do Is To Be, Do Be Do Be Do’, Telfer Gallery, Glasgow (2015); and ‘In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air’, Cactus, Liverpool (2015).

Thomas’  was in residence at Caribbean Linked IV at Ateliers ’89 in Oranjestad, Aruba (2016); at Tarrant County College, Fort Worth, Texas, US (2017); and at Atelier Mondial, Basel, CH (2017). He was commissioned for SCULPTURE AT Bermondsey Square, London in 2017. His work was presented by VITRINE at The Manchester Contemporary 2015 (with Tim Etchells) and 2017, and a solo booth, Poppostions, Brussels (2018). He was commissioned for SCULPTURE AT Bermondsey Square, London in 2017.

He has been exhibited Internationally, recent group exhibitions include: ‘Identify your limitations, acknowledge your periphery’, VITRINE, Basel (2017); ‘…in Dark Times’, Castlefield Gallery, Manchester (2017); Bermuda Biennial, The Bermuda National Gallery, Bermuda (2012, 2014 and 2016); ‘Incunabula’, Norwich Cathedral Library (2015); RCA/ ECA Edinburgh Sculpture Court, Edinburgh, Scotland (2015); ‘An evanescent fix’, VITRINE, London (2015); ‘Escape to a Sparkling Moment’, Bloc Projects, Sheffield UK (2015); ‘Bending Light’, Home-Platform, Bristol, UK (2014); ‘END’, Cactus, Liverpool, UK (2014); Royal College of Art WIP Show, RCA, London, UK (2013) and Brussels, Belgium (2012).

Charlie Godet Thomas has a forthcoming solo show at Lily Brooke, London (June 2018) and at Lacuna, London (duo with Bryn Lloyd-Evans), in July 2018.

Charlie Godet Thomas, Roman-fleuve, 2017. Installation view. VITRINE, Basel. Photographer: Nici Jost.

Charlie Godet Thomas, Roman-fleuve, 2017. Installation view. VITRINE, Basel. Photographer: Nici Jost.

Charlie Godet Thomas, Roman-fleuve, 2017. Installation view. VITRINE, Basel. Photographer: Nici Jost.

Charlie Godet Thomas, Roman-fleuve, 2017. Installation view. VITRINE, Basel. Photographer: Nici Jost.

Charlie Godet Thomas, Roman-fleuve, 2017. Installation view. VITRINE, Basel. Photographer: Nici Jost.

Charlie Godet Thomas, Internal Rhyme, 2017. Installation view. Ladrón Galería, Mexico City, MX.

Charlie Godet Thomas, Internal Rhyme, 2017. Installation view. Ladrón Galería, Mexico City, MX.

Charlie Godet Thomas, Internal Rhyme, 2017. Installation view. Ladrón Galería, Mexico City, MX.

Charlie Godet Thomas, Strandline, 2016. Installation view. Courtesy of Set The Controls For The Heart Of The Sun, Leeds, UK.

Charlie Godet Thomas, Strandline, 2016. Installation view. Courtesy of Set The Controls For The Heart Of The Sun, Leeds, UK.

Charlie Godet Thomas, Thicket No. 3, 2016. Courtesy of Set The Controls For The Heart Of The Sun, Leeds, UK.

Charlie Godet Thomas, Enjoy the Trade Winds, 2016. Courtesy of Averard Hotel, London, UK.

Charlie Godet Thomas, To be is to do, To do is to be, Do be do be do, 2015. Installation view. Courtesy of Telfer Gallery, Glasgow, SCT.

Charlie Godet Thomas, To be is to do, To do is to be, Do be do be do, 2015. Installation view. Courtesy of Telfer Gallery, Glasgow, SCT.

Charlie Godet Thomas, To be is to do, To do is to be, Do be do be do, 2015. Installation view. Courtesy of Telfer Gallery, Glasgow, SCT.

Charlie Godet Thomas, Torschlusspanik, 2015. Installation View. VITRINE, London. Photographer: Jonathan Bassett.

Charlie Godet Thomas, Up Down / High Low / Peak Trough (Detail). Wood, screws, paint, string and 'All Dolled Up With Nowhere To Go', 2015. Installation view. VITRINE, London. Photographer: Jonathan Bassett.

Charlie Godet Thomas, A Method for Writing / A Method for Making, 2014. Installation view. Courtesy of BALTIC Center for Contemporary Art.

Charlie Godet Thomas, A Method for Writing / A Method for Making, 2014. Installation view. Courtesy of BALTIC Center for Contemporary Art.

Charlie Godet Thomas, A Method for Writing / A Method for Making, 2014. Installation view. Courtesy of BALTIC Center for Contemporary Art.

Charlie Godet Thomas, In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air, 2015. Installation view. Photographer: Harry Meadley. Courtesy of Cactus Gallery.

Charlie Godet Thomas, In Comes the Good Air, Out Goes the Bad Air, In Comes the Good Air, 2015. Installation view. Photographer: Harry Meadley. Courtesy of Cactus Gallery.

An evanescent fix (group exhibition), 2015. Installation view. VITRINE, Bermondsey Street.

Charlie Godet Thomas, Evil Knievel Died of Natural Causes, 2013. Installation view.

Charlie Godet Thomas, Cloud Study, 2017. Installation view. SCULPTURE AT, Bermondsey Square. Photographer: Jonathan Basset.

Charlie Godet Thomas, Cloud Study, 2017. Installation view. SCULPTURE AT, Bermondsey Square. Photographer: Jonathan Basset.

Charlie Godet Thomas, Your Shadow at Evening Rising to Meet you, 2017. Cast rubber, perimeter from a cropped photographic print, paint (peach), wood and hanging bracket. 26 x 31 x 1 cm. Photographer: Nici Jost.

Charlie Godet Thomas, A Sudden Frost Disturbed 2017. Cast rubber, perimeter from a cropped photographic print, paint (white), wood and hanging bracket. 27 x 32 x 1 cm. Photographer: Nici Jost.

Charlie Godet Thomas, Overleaf, 2017. Cast rubber, perimeter from a cropped photographic print, paint (white), wood and hanging bracket. 31 x 26 x 1 cm. Photographer: Nici Jost.

Charlie Godet Thomas, Virtues in Disarray, 2013-2017. Nine lemons, cast rubber, pigment and lemon oil. Photographer: Nici Jost.

Charlie Godet Thomas, Speak not Loud or Long, 2017. Cast rubber, perimeter from a cropped photographic print, paint (white), wood and hanging bracket. 28 x 32 x 1 cm. Photographer: Nici Jost.

Charlie Godet Thomas, OH / MOTHER, 2017. Cast concrete. Dimensions variable. Photographer: Nici Jost.

Charlie Godet Thomas, FRIEND / END, 2017. Unique. Cast concrete. Dimensions variable. Photographer: Nici Jost.

Charlie Godet Thomas, A Sinatra Dinner Show, 2017. Installation. Video, 2.1 sound (00:02:02), collaged timber, speaker fabric. Photographer: Nici Jost.

Charlie Godet Thomas, A Sinatra Dinner Show, 2017. Installation. Video, 2.1 sound (00:02:02), collaged timber, speaker fabric. Photographer: Nici Jost.

Charlie Godet Thomas, Lines Written for and by No. 4, 2017. Digital photographic prints on Hahnemühle photo rag. Frame. 92 x 64 x 3 cm. Edition of 3 (1 AP). Photographer: Nici Jost.

Charlie Godet Thomas, Lines Written for and by No. 4, 2017. Digital photographic prints on Hahnemühle photo rag. Frame. 92 x 64 x 3.5 cm. Edition of 3 (1 AP). Photographer: Nici Jost.

Charlie Godet Thomas, Life Study, 2017. Single channel video on iphone, 00:00:04 (loop). Edition of 3 (1 AP). Photographer: Nici Jost.

Charlie Godet Thomas, Life Study, 2017. Single channel video on iphone, 00:00:04 (loop). Edition of 3 (1 AP). Photographer: Nici Jost.

Charlie Godet Thomas, Life Study, 2017. Single channel video on iphone, 00:00:04 (loop). Edition of 3 (1 AP). Photographer: Nici Jost.

Charlie Godet Thomas, Life Study, 2017. Single channel video on iphone, 00:00:04 (loop). Edition of 3 (1 AP). Photographer: Nici Jost.

Charlie Godet Thomas, Cloud Studies, 2017, (Detail). Emulsion on wall. Dimensions variable. The Counting Game, 2017. Single channel video, 2.1 Sound, 00:03:36 (looped).

Charlie Godet Thomas, This Unremarkable Novel (Downward spiral), 2017. Lino print on card, acrylic paint and plastic bag. 300 x 40 x 30 cm.

Charlie Godet Thomas, This Unremarkable Novel (Toilet Snorkel), 2017. Timber, bricks, lino print on card, acrylic paint and plastic bag. 300 x 40 x 30 cm.

Charlie Godet Thomas, Epicede, 2017. Digital print on Hahnemühle German Etching. 60 x 40 cm (unframed).

Charlie Godet Thomas, Thicket No. 2, 2016. Wooden dowel, adhesive, digital print depicting non-native Palm Trees (Arecaceae) that have been introduced to Aruba. 240 x 1 x 1 cm.

Charlie Godet Thomas, Thicket No. 2, 2016. Wooden dowel, adhesive, digital print depicting non-native Palm Trees (Arecaceae) that have been introduced to Aruba. 240 x 1 x 1 cm.

Charlie Godet Thomas, The Poem in the Field (Tip-in), 2016. Cast rubber, wood, paint, digital photographic print, book cloth, ribbon. 260 x 225 x 5 cm.

Charlie Godet Thomas, The Poem in the Field (Tip-in), 2016. Cast rubber, wood, paint, digital photographic print, book cloth, ribbon. 260 x 225 x 5 cm.

Charlie Godet Thomas, The Poem in the Field, 2016. Wood, paint, screws, cast rubber, digital photographic print and elastic. 89 x 258 x 13 cm.

Charlie Godet Thomas, The Poem in the Field, 2016. Wood, paint, screws, cast rubber, digital photographic print and elastic. 89 x 258 x 13 cm.

Charlie Godet Thomas, Lines Written for and by No.2, 2016. Digital photographic prints on Hahnemühle Photo Rag. Edition of 3 (1 AP). Courtesy of Set The Controls For The Heart Of The Sun, Leeds, UK.

Charlie Godet Thomas, Thicket No. 3, 2016. Courtesy of Set The Controls For The Heart Of The Sun, Leeds, UK.

Charlie Godet Thomas, It Stutters in its Little Lines (Façade), 2016. Digital print, wood, paint, window brackets. 250 x 200 x 10 cm.

Charlie Godet Thomas, Endpaper (Ivy League Suicide), 2016. Cast rubber, pigment, paint, wood. 35 x 25 x 15 cm. Photographer: Jonathan Bassett.

Charlie Godet Thomas, Endpaper (Open-Form), 2016. Cast rubber, pigment, paint, wood. 32 x 26 x 2 cm. Photographer: Jonathan Bassett.

Charlie Godet Thomas, Endpaper (Delete and Close Up), 2016. Cast rubber, wood and pigment. 28 x 33 x 2 cm.

Charlie Godet Thomas, Endpaper (Vers Libre), 2015. Cast rubber, pigment, wood, glue. 33 x 25 x 15 cm. Photographer: Jonathan Bassett.

Charlie Godet Thomas, All Doled up with Nowhere to Go, 2015. Cast rubber, metal, plastic, string. 19 x 46 x 3 cm. Edition 5 of 5 (1 AP). Photographer: Jonathan Bassett.

Charlie Godet Thomas, 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, cotton, varnish, evaporated water. 94 x 134 x 4.5 cm.

Charlie Godet Thomas, Blue Monday (Two Verses), 2015. Digital print, pigment, cast rubber, wood, glue, "Drano" drain cleaner. 22 x 27 x 1.8 cm and 21.5 x 28 x 1 cm. Photographer: Jonathan Basssett.

Charlie Godet Thomas, Sateen Dura-Luxe No. 2, 2014. Cast rubber, digital print, paint, wood. 23 x 29 x 1.5 cm. Photographer: Jonathan Bassett.

Charlie Godet Thomas, A Heaping of Negatives No.1 (A Poem for Gottfried Benn in Three Stanzas), 2014. Cast rubber, photographic print, paint, wood. 32.6 x 27. Photographer: Jonathan Bassett.

Charlie Godet Thomas, Evil Knievel Died of Natural Causes, 2013. Cast rubber, pigment, lemon oil and found plastic bag. 40 x 30 x 15 cm. Unique. Photographer Daniel Spehr.

 

Charlie Godet Thomas
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

 

 

Charlie Godet Thomas
I’m hydra-floating, I’m hydra-floating, I’m going, I’m going, I’m gone
2016
Edition of 3 (+1 AP)
Single channel video, 2.1 Stereo sound, 00:02:19.