Thomas J Price was born to a Jamaican father and British mother in London in 1981, studying at Chelsea College of Art (2001–4) and the Royal College of Art (2004–6). He is renowned for his figurative sculptures that challenge traditional narratives in art. His work, focusing on underrepresentation and identity, particularly of Black individuals, combines traditional sculpting with digital technology.
Multi-disciplinary artist Thomas J Price was born in London to a Jamaican father and British mother in 1981. He began exploring his creative talents early in life, inspired by his mother who studied at the Royal College of Art. He gained recognition during his studies at Chelsea College of Art (2001–04), particularly for his 2001 performance Licked, where he covered the walls of an entire gallery with his saliva by licking them over three days. This act, which eventually left bloodstains from his tongue on the white surfaces, was a response to the spectacle and sensationalism associated with the Young British Artists (YBAs). Price subsequently shifted his focus to stop-motion animation, capturing what he described as 'in-between' moments: 'genuine moments when you're not smiling for someone or particularly conscious of how you're presenting yourself' (Ocula 2019). His early works often explored unconscious forms of communication, ranging from subtle eye movements, in animations such as Man (2012) to conveying subliminal messages in his video Hidden People (2000–1). Price subsequently pursued an MA at the Royal College of Art (2004–06), during which he began to create figurative sculptures.
Price's approach confronts traditional views on representation, highlighting the inherent worth of individuals and challenging conventional hierarchical structures. Renowned for his ‘striking and meditative’ figurative sculptures, which ‘sit somewhere between the ideal and the portrait’, he addresses underrepresentation and misconceptions of Black individuals in art and society (Williamson 2023). His diverse media ranges from palladium or gold leaf applied to acrylic or aluminium composites, to pairing cast bronze figures with vibrant Perspex bases. He seamlessly integrates age-old practices, such as gilding and the lost-wax process, with modern techniques, including 3D printing. His work, deeply engaged with themes of perception and identity, uses material, scale, and detail innovatively to change viewer expectations, focusing on the psychological aspects of his fictional characters. Price's sculpted figures are unique in that they are composites, a synthesis of various human traits, reflecting a diverse and inclusive perspective. Price rejects some sculpture conventions, creating figures that slouch or have non-regal expressions, as in his works New Drape (Shakespeare Road) (2011) and Man on a Horse (Kings Avenue) (2011). These sculptures create a compelling contrast by juxtaposing the historically powerful and official connotations of materials, such as bronze, with the relaxed and informal poses of the figures.
Price's solo exhibition at the National Gallery, London, Now You See Me (2016), featured cast bronze and aluminum pieces depicting fictional, anonymous figures. Drawing on classical Greek and Roman statuary, these works challenged traditional art history by focusing on underrepresented groups, particularly Black men, aiming to subvert stereotypes and offer a fresh perspective on identity in art. His work has also featured in group exhibitions including Talisman in the Age of Difference, curated by Yinka Shonibare at Stephen Friedman Gallery, London (2018) and Get Up Stand Up Now, Somerset House (2019).
In 2020, Price created the widely acclaimed Reaching Out for The Line, east London's public sculpture trail close to the former Olympic park. This nine-foot sculpture, situated near Three Mills by Bow Creek, portrays a young woman with a mobile phone, blending photographs, scans, and previous works. It represents a psychological portrait, while exploring themes of isolation, connection, and technology's impact on life. The figure itself represents a ‘black everywoman’, embodying both vulnerability and strength, challenging traditional representations, and addressing the lack of black female visibility in public art. Reaching Out is a response to the internal resistance cultivated by black men and women to survive external systems of oppression, as well as a critique of the sexualised female sculpture. In 2021, Price unveiled Warm Shores, a 2.7-metre high sculpture outside Hackney town hall in London, depicting a young adult male and an older woman, crafted using photo archives and 3D scans of Hackney residents. This work, dedicated to the Windrush generation, symbolises their presence and history in the UK. It stands as a powerful statement of identity and belonging, challenging traditional civic art narratives and bringing visibility to Black Britons. Lucy Davies, writing in the Telegraph, praised Price's sculpture as 'sublime' and ‘spectacular’. She remarked that the sculptures, while commanding in their space and challenging traditional notions of status and authority, also convey a sense of vulnerability. This duality arises from the honest depiction of the figures and their everyday clothing, creating a unique blend of strength and openness (Davies 2022). The artist's exhibition at the Victoria and Albert Museum (2023–24) is a provocative display featuring a dialogue between the museum's rich historical collection and eight of his sculptural works, placing, for instance, his bronze sculpture Lay it Down (On The Edge of Beauty) (2018) among portrayals of Western women from the 18th century. In the UK public domain, Price's work is represented in the Government Art Collection and the Yorkshire Sculpture Park.
Consult items in the Ben Uri archive related to [Thomas J Price]
Publications related to [Thomas J Price] in the Ben Uri Library