Biography
Regina Torres Thompson is a London-based artist with a focus on sculpture. Her artistic journey began in childhood with painting and ceramics. Her abstract thinking is shaped by her academic background in mathematics and ancient Indian philosophy, both of which deeply influence her creative practice.
Her long-term practice of Ashtanga yoga led her to study classical Sanskrit and the textual traditions of yoga. This passion guided her to complete an MA in Textual Traditions of Yoga and Meditation at SOAS, University of London, in 2022, and she is now pursuing a part-time MA in Indology (specialising in Sanskrit) at the University of Hamburg. Regina describes her academic journey as “slow academia”—a deliberate and unhurried pursuit for the joy of learning.
Now working full-time as a ceramic artist, Regina’s practice reflects a deep engagement with philology, identity, materiality, and the body. These influences converge in her sculptures, which explore the complexities of human existence. She is a resident artist at Culford Studio and has been featured in Artist Closeup magazine. Her work has been exhibited at ST.ART Gallery in Soho, at the Margate Ceramics Market at Turner Contemporary, Casa Ágape in Notting Hill, and One Paved Court Gallery in Richmond. She also teaches yoga and the history of yoga, incorporating critical and feminist approaches into her teaching.
Artist Statement
My work explores the emotions and contradictions that shape the human condition. I focus on the polarities we experience; joy and sorrow, intensity and humour, vulnerability and strength. Each sculpture embodies these tensions, offering a tactile expression of emotions that surface through the creative process.
Working with clay allows me to collect and materialise unspoken feelings, forging a connection between the physical and the more subtle layers of existence.
I am particularly drawn to the concept of the materiality of the body—how it is both subject and object, marked, shaped, and redefined through physical and symbolic acts. Questioning the division between mind and body, where the rational, immaterial mind is privileged over the material, non-rational body.
Rather than viewing the body as something to transcend, I see it as a dynamic map of consciousness, gender, and meaning-making. Through my sculptures, I invite viewers to engage with their own sensitivity, nostalgia, and the complexities of life, blurring the boundaries between abstraction and materiality.
Barbara Holdridge critiques the hierarchical distinction between mind and body—where the rational, immaterial mind (coded as male) is privileged over the material, non-rational body (coded as female). Her work challenges how we perceive and engage with the body in all its diversity, abstraction, and materiality.
What if we see the body, not as an object to transcend or eliminate, but as a dynamic map of consciousness, gender, and meaning-making?
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