Thomas graduated from the Srishti School of Art, Design and Technology, Bangalore in 2003 and has stayed largely with photography as his medium of choice.
[1] Predominantly producing work in series, Thomas's photographs conceal an innate critique of their subject matter,[2] engaging often with narratives that are seemingly and instinctively local but reverberate within a more inclusive context.
[7] In 2002, Thomas’s first solo exhibition titled Passing By was shown at the Alliance Francaises in Thiruvananthapuram, Pondicherry, Chandigarh, Bangalore and New Delhi.
[11] The subject is treated formally and the series depicts empty interiors of these nightclubs where modestly dressed women dance for men in exchange for cash.
[11][12] The work was presented as a digital slideshow with slowly changing stills of these evocative venues that though devoid of human presence seemed alive with movement.
[13] Light Life questions the diktat to shut these bars; many ex-dancers were obliged to seek the very employment the censure sought to discourage.
[13] The work encourages reflection on the politics of moral censure even as it explores unused spaces that are present within our larger urban experience.
[19] The variety of style and colour within their ceremonial regalia expresses the sheer diversity within the denominations, drawing awareness to the remarkably plural social characteristics in this coastal state.
[19] The style of the mostly palatial houses, ranging from the colonial to the traditional to the contemporary vernacular, signal the degrees of prosperity of the denominations in question as do the nature of the vestments and the preciousness of the cross and crook held by some of the bishops.
[22] As part of an ongoing exploration of the socio-political and cultural milieu of his home-state Kerala, Thomas' collection of photographs was in a show titled, View from Conolly's Plot at GALLERYSKE Bangalore in 2010.
[23] The series of nine images, taken over three years, depict events, structures and people and were a satirical and poignant exploration of the subtle and uncanny changes dispersed upon his native Kerala.
[26] “Ithikkara Bridge", an image of a plaque that serves as a memorial stone emphasises a transition from life to death as well as elaborates the idea of passage[25] The plaque reads "Ithikkara Bridge, opened for traffic on 20-1-1976, with the passage of the cortege of TK Divakaran, Honourable Minister of Works, Kerala state, who expired on 19-1-1976."