THERESA WEBER

Theresa Weber received her first Master’s degree at the Kunstakademie Düsseldorf, where she studied under the American artist Ellen Gallagher, before completing an MA in Sculpture at the Royal College of Art, London.

Weber’s expansive practice encompasses multimedia works, multidisciplinary installations and collaborative performances that question power hierarchies and fixed systems of categorisation. Drawing from her Jamaican, German and Greek heritage, her work engages with Caribbean discourse, mythologies and historical research. Influenced by the writings of Caribbean postcolonial theorist and poet Édouard Glissant, Weber examines processes of cultural reinvention through motifs drawn from nature. Her works - constructed from dense collages and sculptural networks of culturally loaded materials - interweave cultural, historical and mythological references. Through a decolonial engagement with the body, Weber reflects her conceptual approach to the ever-changing nexus of identity.

Weber was first exhibited at October Gallery in the group exhibition Emergent Energies (2024), which featured her large-scale relief paintings and hanging sculptures. Her work has since been included in October Gallery exhibitions Material Sensibilities (2025) and Lineages (2026). Her relief paintings, such as Stream of Consciousness from the Cartographies series, are composed of richly textured collage materials including silicone, acrylic paste, modelling compound, resin, print, acrylic nails, beads, corals and shells on wooden board. These works propose an intuitive mapping of the intersectional body that resists Western notions of the grid and linear time, favouring organic forms, energy fields and cyclical temporality as acts of resistance. Weber embeds her fingerprint as an archival trace within the surface, incorporates acrylic nails as symbols of Black female empowerment and scales the wooden supports to her own bodily dimensions. The works invite viewers to encounter the canvas as both an extension of the self and an archive of the intersectional body.

Her practice further blurs the boundaries between sculpture and performance, exemplified by Woven Bodies, a hanging, wearable sculpture composed of knotted and woven nylon cloth adorned with found objects. Moving between opacity and transparency, Weber’s material choices suggest resilience alongside nuanced fragility, weaving layered narratives of intersectional experience.

  In 2024, October Gallery presented Weber’s site-specific installation Fruits of Hope / Indigo Rhizome in the West Wing Corridor of Somerset House for 1-54 Contemporary African Art Fair, London. Installed along the arched hallway, the work consisted of suspended blue fabric and mixed media forms that extended into a braided, rhizomatic network of interconnected roots, evoking the links between diasporic lives. The use of blue references indigo pigment and its associations with wealth in Europe, its colonial history and its production through enslaved Caribbean labour; while the fruit-like forms suggest femininity, abundance and the regenerative power of nature. Drawing on Glissant’s concept of creolisation (the ongoing, unpredictable process through which cultures come into relation and transform one another, producing new identities that cannot be reduced to a single origin or fixed essence) the rhizome operates as a metaphor for cultural interconnection: a dynamic root system through which collective memory persists despite geographical displacement. Additional adornments of beads, clips and rings introduce elements of Caribbean carnivalesque tradition – which has nurtured enduring powers of resistance within the creolisation of cultures. The installation is positioned as an archive of embodied traces where body and environment remain in constant interaction, and therefore inseparable.

Since 2018, Weber has participated in numerous exhibitions across Europe and the UK, including Bloomberg New Contemporaries at South London Gallery (2022) and Studio Response #3 at the Saatchi Gallery, London (2022). Her first public, site-specific commission, Cycles of Unmasking, was presented at Somerset House in 2023 and later at the Suermondt-Ludwig-Museum, Aachen, Germany (2025). In 2024, Weber was commissioned by the Tate Collective to create a work in response to Alvaro Barrington’s exhibition GRACE, at Tate Britain. Her artistic response, We Come from Beauty, emphasised aspects of Barrington’s homage to the empowerment of Carnival celebrations as well as the legacy of Black women as representations of strength and ancestral connection. In June 2024, Weber held her first museum solo exhibition at Kunstmuseum Bochum, Germany. In 2025, she participated in the Dekoloniale Berlin Residency, Germany and La Gran Bienal Tropical, Puerto Rico.

Her work is held in private and public collections including the Federal Art Collection (Bonn, Germany), the Philara Collection (Düsseldorf, Germany), the London School of Economics (London, UK), and the Morgan Stanley Collection (New York, USA/ London, UK).