Charlotte Warne Thomas lives and was born in London, UK. Her practice explores the hierarchies of value placed on different kinds of labour, with a particular focus on invisible labour, both in terms of mothers' unpaid familial care and that of women artists, whose work continues to be overlooked and undervalued by a market-oriented art world. The way these two inequalities intersect, and especially the role of ‘love’ in both unpaid domestic care and (women) artists’ work in relation to the concepts of reproductive labour and emotional labour is a core concern.

Her work is often based on photography, and includes performance, sculpture, collage, AV, and text, which she harvests from a wide range of sources including advertising and social media. She often uses gold, exploiting its seductive and versatile materiality to articulate ideas of the solidity and flux of value in different kinds of labour, in an increasingly financialized global economy. She is completing a practice-based PhD in Fine Art at Kingston University, funded by Techne (AHRC). 

Charlotte is an Associate Lecturer in Fine Art at Norwich University of the Arts; a trained mentor and certified Powered by Diversity Ambassador, and runs long-standing crit group Peer Sessions, with fellow artist Kate Pickering. She graduated from Goldsmiths MFA in 2009, and has exhibited nationally and internationally including Deptford X; APT Gallery, David Roberts Art Foundation, ASC Gallery, Chelsea Space (all London, UK); Exeter Phoenix (Exeter); Woodend Gallery (Scarborough); RBSA Gallery (Birmingham); Focal Point (Southend-on-Sea), Phoenix (Brighton); Fundación Santander (Madrid, Spain); Studio X (Mumbai, India); Artplay (Moscow, Russia); Frans Masareel Centrum (Kasterlee, Belgium).

So far in 2025 her work has been long-listed for the Women in Art prize, and selected for the Exeter Contemporary Open, the RBSA Photography Prize 2025 exhibition, and for the online exhibition This is Essential Work. 

She is passionate about overcoming structural inequalities and barriers to access in the art world, an area she researched in her report Artsits as Workers for The Autonomy Institute. She was consultant editor for Structurally F~cked, a pivotal inquiry into the dire state of artists’ pay and conditions, published by a-n, and has since presented at the All Party Parliamentary Group for Visual Arts; at Tate committees on addressing increasing financial pressures, and has written for Art Review, DACS, and Artquest on making the Visual Arts sector more equitable.