Thomas Wells (he/they) is a multidisciplinary artist and curator based in Belfast (Northern Ireland) originally from Manchester they have been based in the north of Ireland since 2017. They graduated from The Glasgow School of Art in 2009 (Fine Art: Sculpture and Environmental Art) and King’s College London in 2014 (Education in Arts and Cultural Settings).

Since 2017, Thomas has held a number of positions at creative organisations contributing to the wider cultural ecology of Northern Ireland. Most recently as a creative programmer at National Museums Northern Ireland. Prior to this Thomas held the position of Curatorial Assistant at The MAC and Co-director of Catalyst Arts. As an independent curator they have also worked with Household Belfast and in 2021 founded SAM’S EDEN a queer arts led project that has been supported by Catalyst Arts (2021), Outburst Arts Festival (2022), The MAC (2023) and CCA Derry/Londonderry (2023). Thomas is also a member of Belfast based Array Collective who in 2021 won the prestigious Turner Prize with their installation The Druthaib’s Ball and committee member for Belfast International Festival of Performance Art (BIFPA).

Thomas’ most recent performance work includes Neverlandz, a new commission for Outburst Arts Festival (2023), Artefact at Cavan Arts Festival (2023) and Buffet BIFPA 23. Previous performance works include Part of Your World (on air) as part of BIFPA 21 and Un Chant d’Amour at REVISION queer and feminist arts festival 2021.

Thomas employs a multifaceted approach blending performance, sculpture, and curatorial ventures, all anchored in the ethos of socially engaged practices. Their work frequently delves into the realm of LGBTQ+ collective experiences. Thomas harbours a keen fascination with the concept of hosting as a form of performance, crafting scenarios that explore themes of hospitality through a queer perspective.

Drawing inspiration from childhood recollections and observations from beneath the tables of working men’s clubs in Manchester—where patrons indulged in crisps and sipped on cola—Thomas intertwines campy elements within their performances. These acts amalgamate humorous gestures with the poignant notion encapsulated by the phrase 'it’s grim up north.'

The objects crafted or utilised in Thomas’ art often stand as artefacts, freezing moments of a narrative that has unfolded. Thomas views these objectified performances as separate from the performer. Captivated by the notions of residue and remnants, their work leaves an impression that the audience might have missed a crucial element. In alternate creations, Thomas fabricates wearables that unify the audience into a shared experiential encounter.