托瑪•阿布斯1967年生於德國基爾，1989-95年入讀德國柏林藝術學院，現於倫敦工作與生活。
阿布斯的畫作，是要經歷時間慢慢演變出來的。阿布斯開始的時候不會有腹稿，只是憑直覺，順其自然地讓油彩和塑膠彩層層堆疊，直至畫面逐漸成形。顏色與形狀是憑直覺逐一加上的，因此舊有的線條在層層顏料下依然可辨，成為作品演變過程的印記。阿布斯所用的手法，是在舊有色層周邊再畫，因此在畫作完成後，最底的色層仍然清晰可見。阿布斯認為她的畫作既是實物，也是圖象；是幻覺，也是實在的。當顏色、層層顏料和幾何圖形在畫家眼中有了生命時，畫作便告完成。然後，她會從名字詞典中精挑細選，小心翼翼地為作品取名。每幅畫都是48 x 38厘米的標準大小，而且都是直向的，突顯畫家有條不紊的取向。
作品《維克》（2005），就像它的名字一樣帶有尖銳的感覺。參差不齊的線條，在深沉的灰綠底色中，層層疊出如刀似矛的圖案，由右至左橫過畫面，有如骯髒的鋸齒狀雕飾。線條掠過時留下柔和的鴿灰色影子，構成複雜的、不可能的透視感。調子含蓄、陰沉，多重空間不斷地向自身重疊，讓人想起池中的漩渦。
托瑪•阿布斯於2004年榮獲「保羅•哈姆林基金獎」，並於2006年獲「特納獎」，作品先後在瑞士巴塞爾藝術館和倫敦東南部的格林格拉斯畫廊展出。其他近期個展展於：吉地•努巴赫殊畫廊（德國，2009）；新當代藝術博物館（紐約，2008）；丹尼爾•巴克荷玆畫廊（科隆，2006）。
Tomma Abts was born in Kiel, Germany in 1967. She attended Hochschule der Künste, Berlin, Germany between 1989 and 1995 and is currently living and working in London.
Abts’ paintings develop slowly over time. She begins with no preconceived ideas of how the finished article will look, allowing a more intuitive journey with each picture slowly unfolding itself through the layering and overlaying of both oil and acrylic paint. Colour and shapes are built up instinctively and, as a result, lines of former shapes are still visible under the layers of paint — evidence of how it has evolved. Abts’ technique is to paint around the colour already laid, which often means that the initial first layer of colour is still visible once the painting is complete. Abts says of her paintings that they are objects but also images, an illusion yet real. The completed painting suddenly realises itself to the artist once the colour, layers of paint and geometric shapes come alive. She then names her works, carefully and deliberately, selecting from a dictionary of first names. To further add to the systematic approach of her painting each canvas is the standard format of 48 x 38 cm and always portrait in orientation.
Veeke (2005) is as jagged a painting as its spiky name suggests. From a base colour of murky green-grey emerge what appear like flat knives or spears, layered on top of one another and streaking across the canvas from right to left like a dirty neon chevron. They seem to cast softer dove-grey shadows as they pass, creating intricate, impossible perspectives. Muted and sombre in timbre, the complex layering of space folds over and over onto itself, creating a kind of self-sufficient vortex that can almost be likened to a pool.
Tomma Abts was awarded the Paul Hamlyn Foundation Award in 2004, and won the Turner Prize in 2006, after being selected for exhibitions at Kunsthalle Basel, Switzerland and Greengrassi, south east London. Other recent solo exhibitions include Galerie Giti Nourbaksch, Germany, 2009; New Museum of Contemporary Art, New York, 2008; Galerie Daniel Buchholz, Cologne, 2006.