State of Play: Canary Wharf
Past exhibition
Charlie Godet Thomas
(Wel)come Back, (Wel)come Home, 2022
Laser cut steel, steel poles, steel cable, paint, fittings and fixtures
350 x 500 cm
137 3/4 x 196 7/8 in.
137 3/4 x 196 7/8 in.
Unique
Copyright The Artist. Courtesy of Brooke Benington And VITRINE, London/Basel
Further images
(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...
(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.
(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.