托玛‧阿布斯1967年生于德国基尔，1989-95年入读德国柏林艺术学院，现于伦敦工作与生活。
阿布斯的画作，是要经历时间慢慢演变出来的。阿布斯开始的时候不会有腹稿，只是凭直觉，顺其自然地让油彩和塑料彩层层堆栈，直至画面逐渐成形。颜色与形状是凭直觉逐一加上的，因此旧有的线条在层层颜料下依然可辨，成为作品演变过程的印记。阿布斯所用的手法，是在旧有色层周边再画，因此在画作完成后，最底的色层仍然清晰可见。阿布斯认为她的画作既是实物，也是图象；是幻觉，也是实在的。当颜色、层层颜料和几何图形在画家眼中有了生命时，画作便告完成。然后，她会从名字词典中精挑细选，小心翼翼地为作品取名。每幅画都是48 x 38厘米的标准大小，而且都是直向的，突显画家有条不紊的取向。
作品《维克》（2005），就像它的名字一样带有尖锐的感觉。参差不齐的线条，在深沉的灰绿底色中，层层迭出如刀似矛的图案，由右至左横过画面，有如肮脏的锯齿状雕饰。线条掠过时留下柔和的鸽灰色影子，构成复杂的、不可能的透视感。调子含蓄、阴沉，多重空间不断地向自身重迭，让人想起池中的漩涡。
托玛‧阿布斯于2004年荣获「保罗‧哈姆林基金奖」，并于2006年获「特纳奖」，作品先后在瑞士巴塞尔艺术馆和伦敦东南部的格林格拉斯画廊展出。其他近期个展展于：吉地‧努巴赫殊画廊（德国，2009）；新当代艺术博物馆（纽约，2008）；丹尼尔‧巴克荷兹画廊（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.