Art In Isolation

Journeys Through The Atlantic

Ami Zanders

Like most of us, Ami Zanders has found herself embracing technology in new ways over the last few months. Confined to her home in Liverpool under lockdown, she wasn’t able to access the materials she was used to working with in her studio at university and with no access to a computer, she turned to her phone.

The multi media artist soon found herself absorbed in the Stop Motion Studio App. She started playing around with it, creating short clips for fun. This soon led to a new found fascination with stop motion animation and changed the direction of her final project. Her explorations into the new medium impressed her lecturer at John Moore University, where Ami is currently completing her MFA, and they swiftly arranged for her to borrow the equipment needed to develop it further.

The result is first her standalone project, Journeys Through The Atlantic, an experimental animation video which explores her Bermudian heritage, produced exclusively for the Bermuda National Gallery.  

We caught up with Ami to discuss creativity in confinement, why art has always been an escape for her and how art making can help to heal a community.

Click the image above to view the animation.

BNG: What was the inspiration for Journeys Through The Atlantic?

AZ: I always work intuitively. Making things helps me to gather my thoughts and sort through my emotions. Like most people, I have been engrossed in current events – the coronavirus pandemic, the Black Lives Matter movement and thoughts of an uncertain future.

I’m currently interested in early experimental videos and late 1970s/ early 1980s music videos. My animations have a naïve early MTV look about them. I’m also finding inspiration from artists such as Pipilotti Rist, Tai Shani, Mark Bradford, Benedict Drew and David Hammons

For this project, I began using 13 second videos and animations that were initially going to be used as imagery for other projects but they never got off the ground and so I turned them into my own personal scratch video.

One of the images in the video is of a person riding a turtle. That’s actually a drawing made by Sir George Somers which can be found on the map he drew of Bermuda. It is believed that The Tempest is inspired by the Sea Venture shipwreck and I started to think of a symbol for the spirit Ariel and used Somers’s drawing to represent her as a way of connecting the two.  

Since I’m currently living in Liverpool and Liverpool is one of the major ports that sold enslaved Africans to the Caribbean and the United States, I animated black hair – my hair and my son’s hair – to symbolize a human journey through the Atlantic. There are lots of other layers to it but ultimately it’s an experimental animated video that doesn’t quite make sense but somehow does. 

Still from Journeys Through The Atlantic by Ami Zanders, 2020. Animation.

BNG: Has living (and being locked down) in Liverpool made you see Bermuda through a different lens? How has it changed your relationship with home?

AZ: I was glued to every online press conference that the Bermuda Government had. I was so impressed with how they handled it. Making masks mandatory, having a curfew, contact tracing, etc. It made me proud. Seeing images of the Black Lives Matters protest made me teary eyed. I hope that change will come out of this. Not just in Bermuda but worldwide. 

When you’re away from your own country, you realize that you have taken for granted everyone being able to understand your point of reference. Your word choices. Bermuda is beautiful but it’s a difficult place to live if you are an artist or not taking home a big salary. Then again, it’s hard for artists everywhere.

I’ve also taken for granted things like seasoning salt, pumpkin puree, molasses and codfish and potato breakfast.

Nelly Spins A Yarn by Ami Zanders, 2014. Mixed media.

BNG: You are well known for the vibrant yarn bombing pieces which you created a few years ago across the island. These were included in the Bermuda National Gallery exhibition Marking Territory: A Focus On Bermuda’s Landscape. Your piece Nelly Spins A Yarn was designed to make passersby view their surroundings anew. Could you please talk us through the project?

AZ: It was a challenge. My sister and mother helped make portions of it for me. Fabulous secret knitters donated pieces for me to sew together for this project as well. I also used elements from my Biennial art work in it. I liked it. A lot of people hated it. It got people talking about it. Someone took time out of their busy day to write a scathing letter to the editor of the Royal Gazette about how tacky it was. But like the wise prophet Andy Warhol once said, “Don’t pay any attention to what they write about you. Just measure it in inches.”

BNG: In an interview you likened yarn bombing to a form of graffiti. Could you please expand on this?

AZ: It is a form of graffiti. Anytime you do an unauthorized marking on a public space it’s graffiti. But in my case, I have for the most part been asked to do it or paid to do it. Getting paid for it is nice. 

2014 Bermuda Biennial artwork When The Bough Breaks by Ami Zanders, 2013.
Mixed media. 14 x 10 ft.

BNG: You also turned to textiles for your 2014 Bermuda Biennial artwork When The Bough Breaks in which you explore the impact of a personal childhood trauma. How does art making help you to process events and emotions? Have you always used it in this way?

AZ: Art has always been an escape for me. It allows me to shut the world out and focus on the task at hand. I get lost in the work which feels like meditation. I am so much calmer and relaxed after I’ve made something. Learning new art mediums and processes are exciting for me. I can do it for hours. It can be addictive; the more you create, the more you want to do.  Creativity is limitless. 

BNG: You worked as an art instructor at the Mid Atlantic Wellness Institute for many years, during which time you organized the annual Mind Frame Art Exhibition, which encouraged patients to express themselves through art. In what ways can art be used to aid mental health issues?

AZ: The arts and artists have proven to be useful assets in healthcare. Social prescribing is a term used when health care professionals refer patients to non-clinical social activities that take place in their community. The NHS define it as a holistic approach to an individual’s mental health and wellbeing. 

Patients are encouraged to create art and go on field trips to galleries and museums. They get to be around people in various walks of life, they get to exchange their stories, meet new people and share their creativity with one another. It has been used to aid a wide range of social groups that are often isolated such as dementia patients, the elderly and university students, as well as individuals with mental health issues, people with intellectual disabilities and asylum seekers. 

According to the Arts Council England, evidence suggests that one in five people visit their GPs for non-medical reasons.  Those patients tend to experience issues ranging from loneliness, debt, mental health and housing to name a few. I believe that in Bermuda we need to pay and train artists, musicians, dancers and actors to become facilitators for social prescribing.

Art-based social prescribing has produced positive outcomes. Those engaging in art based activities showed an increase in quality of life, self-esteem and confidence. At the same time, they learned new skills adding to their employability skill sets. It showed a reduction in medication usage and participants were less likely to contact their GPs for mental health issues.  

Nelly Spins A Yarn by Ami Zanders, 2014. Mixed media.

BNG: You have continued with this community focus, most recently working as an art instructor for the British Red Cross Snap programme at Tate Liverpool. Could you please tell us about the initiative and your involvement in it?

AZ: The organizer of this collaborative initiative was a fellow MA student at Liverpool John Moore University named Adi Lerer. She was an exhibition studies student and this was her final project. Adi knew I enjoyed working with people with intellectual disabilities and that I had taught workshops for people of all ages and thought I’d be a good fit. I loved it.

I created lesson plans that revolved around the Tate Liverpool’s art collection and special exhibits such as Pop Art and Keith Haring. I also taught classes on paper making, painting, and basket weaving.  The service users were asylum seekers from Iran, Pakistan, Kenya, Syria and Kurdistan. I got to learn their stories, how much they love their country and understand that no matter how much they missed their families, their beautiful countries and their food they could never go back. It’s a cliché to say that it changes you but it does. It puts names and faces to a very serious world issue. 

I still occasionally teach for the British Red Cross Snap programme.  Most recently using Zoom. I taught a stop motion class last week and I’ve received animations that they’ve done. It’s rewarding to see that they enjoyed the class and that they are using the tools that I taught them.

Still from Journeys Through The Atlantic by Ami Zanders, 2020. Animation.

BNG: You have just completed your MA in Fine Arts at John Moore University in Liverpool. What has the experience been like for you? How has it developed your practice?

AZ: It’s been a rollercoaster ride. Even though I find creating relaxing, I still have to fight with it. I still have doubts that float by and sometimes wonder if quitting my job and going back to school was worth it. And I have to say it is all worth it. I’ve learnt so much. My lecturers are bad asses in their field and I am trying to learn as much as I can from them. They are super smart and have been very supportive during this time of complete chaos.

I’ve been trying to learn bits of everything but there is so much more to explore. I was hoping to learn how to create virtual reality worlds but unfortunately a pandemic hit. Recently my lecturers invited last year’s Turner Prize winner Tai Shani to join our class on Zoom so she could talk about her work. She’s amazing! I love Liverpool. The people here are lovely.

BNG: What is next?

AZ: I want to work as an art instructor for vulnerable people.  I love working with people with intellectual disabilities as well as asylum seekers. I’ve been a volunteer for The Bluecoat’s Blue Room Inclusive Art Programme for almost a year now. Their artists are people with intellectual disabilities. I’m having so much fun making others happy through art. We still meet up once a week and we all create art together.

I think everyone should volunteer at least once, sharing their skills with those most vulnerable. I also think that everyone needs to take some form of art – whether it is theatre, dance, music or some kind of visual art. It’ll improve your life.   

Follow on instagram Ami at @amizanders

Art In Isolation

The Art That Sustains Us

The BNG team share their favourite pieces

Art can comfort, encourage us to question and help us to concentrate on the present moment in the midst of trying times. The BNG team talk through the artworks that mean the most to them and present the pieces hanging in their own homes which are seeing them through these tumultuous times.

Gary Phillips, OBE, JP, Chairman, on Neighbourhood by Charles Lloyd Tucker (shown above)

“That I was a student of Charles Lloyd Tucker is a fact. The real truth, however, is that I attended Mr. Tucker’s art classes at The Berkeley Institute for a couple of years, after which time we finally reached an understanding — there are those who create fine art and then there are those who would probably do better supporting and encouraging artists. It goes without saying that I clearly fell into the latter category.

My opportunity to purchase my first Charles Lloyd Tucker piece came in the spring of 1971, following a conversation I had with his widow a few months after her husband’s death. Not only did I want to own a Charles Lloyd Tucker but I was especially excited and drawn to this particular watercolour (shown above) because it captures the architecture, the mood, and indeed the soul of Curving Avenue and Middletown, Pembroke – the neighbourhood where I was born and lived before moving to study in France at age 20.

This particular work was featured in House and Home, a BNG exhibition which opened in September 2003. Over almost five decades, I have continued to collect the works of Charles Lloyd Tucker. Our dining room has become a tribute to my appreciation of his genius as a social commentator through his work as a fine artist, a teacher and a musician.”

The view finder stand for Fangs*** by Peter Bahouth, chosen by Mitchell Klink, Trustee.
Inside the view finder for Fangs*** by Peter Bahouth, chosen by Mitchell Klink, Trustee.

Mitchell Klink, Trustee, on Fangs***  by Peter Bahouth

“Peter Bahouth’s stereoscopic photographs and viewing stands ask the viewer to surrender. Commit to look before you know what you’ll see. Adopt a vulnerable posture to lean into the eyepiece height. Look at something independently. 

Fangs is a picture of a dog – a German Shepherd – jumping up to pop a bubble. Ferocity & fragility combine and contradict. This dog is a beloved family pet playing a game, but the breed can be frightening. They have been used in some of modern history’s worst policing.

The bubble has been used in Renaissance, Hindu, and Romantic art to symbolise temporality, impermanence, mortality and hopeful optimism. Fangs is the title, but is it the subject?  For me, it’s the bubbles.”

Bhutan by Nea Willits, chosen by Peter Lapsley, Executive Director

Peter Lapsley, Executive Director, on Bhutan by Nea Willits

“This work is a photograph on paper by Bermudian Nea Willits taken whilst she was in Bhutan sometime in the early 2000’s. While I do not have a specific theme or direction in terms of what I collect, it is always that initial moment that determines whether I revisit a work and this one spoke to me immediately.

The work, although not immediately recognisable, depicts Bhutanese monks participating in a cleansing fire ceremony and when I initially saw the image I was drawn to it by the intense energy of the moment. In learning more about it, I was engaged by the journey of the photographer who travelled to this remote place and was so inspired by the experience of this reverential yet dynamic moment.

This artwork is currently positioned where I see it every day and serves as a reminder not to lose that sense of adventure and wonder in the world.”

Nudes by Molly Godet Thomas, chosen by Eve Godet Thomas, Director of Programming and Engagement

Eve Godet Thomas, Director of Programming and Engagement, on Nudes by Molly Godet Thomas

“My mother, the artist Molly Godet Thomas, painted these nudes when she was at Hornsey College Of Art in London. She left Bermuda in the 1960s to go to art college and didn’t look back until she retired some forty years later.

These paintings hung in our childhood home in London and later in the flat that my parents shared after my brother and I moved out. For most of my life they were the only artworks I had ever seen of my mother’s. After leaving college, she worked as an art director at an advertising agency. She didn’t pick up a paintbrush again until she and my father returned to live in to Bermuda when they retired. She met the Bermuda Plein Air group soon afterwards and quickly became known for her bold watercolours of the local landscape.

When I chose to move to Bermuda after her death a few years ago, my brother and I decided that these should move with me. They now hang in the home which her grandfather built and in which her granddaughters are growing up. It felt right to bring her home.”

Exuberant Pink by Pamela Holl Hunt, chosen by Jennifer Phillips, Office Administrator

Jennifer Phillips, Office Administrator, on Exuberant Pink by Pamela Holl Hunt

“Around 2000 my aunt, fine artist Pamela Holl Hunt, moved to a new house which backed onto a forest. Her new backyard view of so many tree trunks inspired a Tree Series of oil paintings, which began with figurative pieces and gradually evolved into more abstract forms using bolder colours.

She called this piece Exuberant Pink because one of the trees in the finished work looks like a figure jumping for joy. So, it’s an uplifting piece, and I’m inspired by the creative process and how paintings can take on a life of their own.

This painting hangs in my living room, paired with another artwork from the same series. I love it for its surprising pop of colour in the otherwise neutral palette of my home. The hint of a pathway through the woods is almost like a window to some magical unknown. While we were sheltering in place, I often imagined the clearing that might lie around the corner.

Most importantly, the fact that it was painted by my mother’s sister, who lives in British Columbia, speaks to the way that art can bridge distance and time. Finding unconventional ways of staying close to loved ones has become paramount in recent months.”

Ocean Shore (Untitled) by Anne Kermode, chosen by George Peterich, Trustee

George Peterich, Trustee, on Ocean Shore (Untitled) by Anne Kermode

“I love this painting. It brings together two things have been most important all my life: the enjoyment of the visual arts and my love for the natural world that surrounds us.

I gave it this name because I don’t know the title, or rather I cannot remember one. The painting hangs in a room where I spend most of my creative moments. I often look up at it from the other end of the room. To me it radiates peace. One sees in it the sea, the beach, and the edge of vegetation.

I enjoy Anne Kermode’s painting. It is original and simple. Despite the intricacy of the way she puts the observed to the canvas, she has achieved to bring across a message. It gives one food for thought. It is, in my opinion, a masterpiece.”

What inspires you? Please share your favourite artworks with us, either via email to or on instagram by tagging @bermuda_nationalgallery #artthatsustainsme

Art In Isolation

Creativity In Confinement

Finding Comfort In Chaos

Jon Legere is a Bermudian mixed media artist who works with video, paint, collage, photography and sculpture. He has shown in numerous galleries globally and his collaborative video installation “TURNS” with mentor Margot Lovejoy was part of the 2002 Whitney Biennial in New York City.

His 2020 Bermuda Biennial artwork A Shell Is A Façade, which marks the artist’s fifth inclusion in the exhibition, looks at the enigma of language and how this can be used to both reveal and conceal information.

Jon lives and works in New York City where he is currently sheltering in place. We caught up with him to discuss life in lockdown in one of the cities most affected by the pandemic and how he is using art to make sense of the situation.

2020 Bermuda Biennial artwork: A Shell Is A Façade, 2020. Installation, video, wall stencil. 50 x 50 inches.

BNG: How long have you been sheltering in place and how are you using this time?

JL: I think today marks 43 days. It’s been a wild ride. We have a ten month old beautiful baby girl, a rambunctious seven year old who’s had to learn how to use a laptop overnight for remote classes and a little Havanese puppy. All contained within a nine hundred square foot apartment in Brooklyn. But we are all healthy and staying somewhat sane so no complaints. 

BNG: How has this affected your studio practice?

JL: I’ve always been comfortable with chaos so long as I could figure out a way to contain and make sense of it. I haven’t cracked this one yet and that’s the hardest part for me.  So I’ve been trying to develop new mini routines which give me a sense that I’ve got a handle on things. 

BNG: What are you making and why? 

JL: One of those tasks was to organise the flat files in my studio in Greenpoint. I started arranging all of these old drawings, collage clippings, photo copies, notes, photographs, love letters and tape rolls out onto the floor. After examining all the fragments holistically I wanted to stick what I was seeing on the floor to the wall. So I just threw them on the wall with push pins, tape, glue and didn’t care what was exposed or hidden. Stepping back they are like maps. Topographic diaries of life prior to quarantine.

Banker Street, 2020. Paper, tape, acrylic, spray paint. 50 inches x 65 inches.

BNG: What creative projects were you working on when the crisis hit and how have these been affected by the pandemic?

JL: So many projects so little time. I was invited for a few weeks residency in Italy this fall which is now on hold. I keep seeing photos from the chateau where the residency is on instagram and it feels like a dream. I think it’s good and healthy to dream into the future.

BNG: How do you think the art world will be changed by this event when we go back to a (new) normal?

JL: The world has already changed and adapted and I don’t think there will be any going back. But this is the case with or without a global pandemic, we are constantly evolving. I think during times like these it’s just more noticeable because it’s happening in such an accelerated real time. 

BNG: What is inspiring you at the moment?

JL: Humans. How malleable they are to adaptation and their resilience. 

Aphabeta limited edition hand drawn poster, available exclusively at BNG.

To accompany the 2020 Bermuda Biennial, Jon Legere has produced a limited edition hand drawn poster. Each is one is numbered and signed by the artist. These are available exclusively from the BNG for $50. If you would like to reserve one please email

Art In Isolation

Interview: Charlie Godet Thomas

Art In Isolation

Art connects us and reflects our stories. As we collectively shelter in place across the globe, many artists are using this time of enforced isolation to make work that responds to the pandemic and the abrupt changes that it has brought to daily life. 

Charlie Godet Thomas is a British/ Bermudian artist whose work includes writing, painting, assemblage, photography, sound and video. His 2020 Bermuda Biennial artwork Short Poem (Threadbare) marks the sixth time that the artist has been included in the exhibition.

We caught up with Charlie to discuss the autobiographical nature of his practice, the intersection between words and the visual arts and how the pandemic has inspired a new body of work. 

BNG: You are currently living in Mexico City. How is the pandemic affecting day to day life over there?

CGT: There are several restrictions in place, but they are not as severe as in other parts of the world. A major issue is that so few people in Mexico City have the luxury and stability to be able to remain at home. Many of the trades here rely on a steady stream of people in the streets – food stands, open air markets, shoeshine stalls and what have you are still operating. Only yesterday, a Marimba was set up outside our block, it was played for about an hour, so we haven’t witnessed the dramatic changes which seem to have taken place in other major cities.   

Mexico City

BNG: How has the current situation affected your artistic practice?

CGT: I’m not using my studio at the moment, but as many of the shows and projects I was working on have been postponed indefinitely, there is thankfully no pressure to do so. Part of being an artist is realising that any parameters given to you are an opportunity to focus in on what they will allow, or to see how those parameters can be subverted. I have very few materials at home, so I have focused primarily on my writing, I am currently putting together a proposal for a publisher, a collection of poems which would be paired with works from my series Illuminated Manuscripts. I am also working on small scale sketches in paint, mainly in my notebooks. They might later manifest into works but essentially they are just a way of thinking through some of the thoughts and feelings that come with living through a large scale global pandemic.   

Charlie Godet Thomas
Song of Concern (Unfinished Floating World), 2019
Acrylic on paper, wood, coloured pencil, pins, light fitting, cut plastic water bottle. 
214.5 x 152.5 x 2.5 cm
Photographer: Jonathan Bassett
Image courtesy of the artist and VITRINE

BNG: Your 2020 Bermuda Biennial artwork Short Poem (Threadbare) is a wood cut print that takes inspiration from home-made posters. What attracted you to this as a device?

CGT: I have always been interested in any format where language and imagery meet, be it in illuminated manuscripts, graffiti, subtitles in films, foam funereal letters, in signage or in advertising of different types. I don’t think that it’s a coincidence that my dad was a copywriter (who wanted to be a writer) and my mum an art director (who was an artist). Everything pointed to the fact that I would inevitably sit awkwardly between the written and visual arts. When I made Short Poem (Threadbare), I was looking closely at those home made posters that you can rip a phone number off of, the idea is so simple but ingenious. It’s a very sculptural approach to using a two-dimensional piece of paper, and I have always had an interest in the relationship and interplay between two and three-dimensional media.  

BNG: Did you put the posters up across the Mexico City?

CGT: I did, because I like to draw attention to things which feel overlooked, but which deserve to be studied more closely. The block print I made meant that the essential function of the poster, to convey and distribute information about a service, was removed. My intention was that the removal of information would allow the format could be considered without distraction. Interestingly, some of the tabs from the bottom of the posters were removed, so people were still performing the action expected of them. Absurd, but funny and unexpected.    

Charlie Godet Thomas
Song of Concern (Ventriloquised Selves), 2019
Acrylic on paper, wood, coloured pencil, pins, light fitting, cut plastic water bottle. 
214.5 x 152.5 x 2.5 cm
Photographer: Jonathan Bassett
Image courtesy of the artist and VITRINE

BNG: This is your 6th Bermuda Biennial. How has your inclusion in the exhibition over the last 12 years impacted your career as an artist?

CGT: It has had a huge impact. I was still studying my Bachelors degree when I was first selected for the Biennial in 2008 and it gave me more confidence in the direction I was going in with my work. Much further down the line now, I can see the development of my work through the prism of the biennial which is strange, it’s rare to have the opportunity to see such clear incremental shifts. I have also met some wonderful artists and curators through the Biennial, the Bermuda National Gallery have supported me in innumerable ways to date, none of which would have come about without my inclusion in the Biennials. 

BNG: You work across many different mediums – painting, poetry, photography, sculpture, film and sound. Your most recent works, including those made in isolation, mark a return to painting. Why is this?

CGT: I painted from a very young age, but because my mum was a (brilliant) painter I felt that I wanted to explore other avenues away from what felt like her specialism, if only so that I could return to it from a different angle at a later date. I have always had a painterly approach to all aspects of my work, so I don’t see it as a return as such, but it has become more prominent in my practice in the last couple of years. One of the practical reasons for this is that when I moved to Mexico City, I didn’t have any materials and the easiest and cheapest things to get hold of were paints and paper, so writing and painting took centre stage. 

Charlie Godet Thomas
Study for OXXO / OH NO, 2020
Acrylic and pencil on Fabriano paper
34.8 x 24.6 cm
Image courtesy of the artist and VITRINE

BNG: Study for OXXO / OH NO, was the first piece that you made in isolation. Could you please talk us through it?

CGT: This came from an evening when I passed my local OXXO convenience store and saw it full of people eating together and chatting. I had friends in Europe under total lockdown, so COVID-19 was really concerning me. At that time here however, the government were playing it down because they were worried about the effect it would have on the economy. That scene really troubled me, and in my head I kept exchanging the name “OXXO” and the words “OH NO” until I had to get them out on paper. OXXO are the biggest chain of convenience stores in Latin America, so it felt like a good vehicle to express my frustration at what I saw as an impending disaster. 

Charlie Godet Thomas
Study for The World Curling at its Edges, 2020
Acrylic and coloured pencil on paper
29 x 21.5 cm
Image courtesy of the artist and VITRINE

BNG: Your most recent work, Study for The World Curling at its Edges, elegantly sums up the current situation. Could you please tell us about it?

CGT: This was a notebook sketch of an empty restaurant interior, it allowed me to play with text, with the mirror script “CLOSED” on the outside of the windows. Oddly in September I had made two large scale works which depicted an empty office and an empty supermarket which have taken on a new significance now, I suppose the sketch came off of the back of those works. Also, the caption “Pretty Vacant” seemed appropriate, after all, who doesn’t like The Sex Pistols.  

BNG: What else are your currently working on?

CGT: I had just set up an upcoming series of projects under the name No Soy Basurero, that were going to be held in my studio, but which have had to be put on hold. I had programmed in some really exciting artists: Georgia Horgan (UK/Mexico), Carla Lamoyi (Mexico) and Wendy Cabrera-Rubio (Mexico). Whilst they aren’t going ahead at the moment it has given me more time to refine some of the details and give more consideration to how the programme will work once it can go ahead.   

With my own practice, I am working on a commissioned work from the series of sculptures “Cloud Studies”, these are weather vanes which make use of the trope of the personal storm cloud which is often found in cartoon strips. One of these works was just shown in Regent’s Park, London, as a part of Frieze Sculpture and this commission came as a result of that exhibition. I’m looking forward to seeing how the piece comes together. It’s a much more collaborative approach, working with fabricators, architects and structural engineers which is something new and exciting for me.

There are a few other projects which I am a part of, but I need to wait patiently for the world to start turning again before they happen. 

Charlie Godet Thomas
Detail of Cloud Study (Partner Dance), 2019
Installation view, Frieze Sculpture 2019
Photographer: Steven White
Image Courtesy of the artist and VITRINE

Find Charlie at and