Poser’s Decoy

A former resident of Sedalia, Missouri, Thomas now serves as the Director of the Library Art Gallery on campus at Johnson County Community College, Overland Park, Kansas. He is also an Instructor of Art at the college. In 1998 he was included in Who?s Who Among American Teachers. His art can be found in numerous corporate and private collections throughout the United States. In the early 90’s Thomas underwent several major surgeries that greatly affected him and had a major influence on his work. While enduring his own medical hardships Thomas also suffered the loss of an uncle whom he had a close relationship with. At this time he became interested in biotechnology and questioned the benefits and drawbacks of extending life and the quality of life through medical intervention. He admits he still remains very interested in this topic and continues reading books on the subject. Thomas has always liked drawing and painting heads. He recalls that in Dance the head relates to technological issues since he had recently undergone kidney transplant surgery. It asks questions about our relationship with technology and our increasing reliance on it. The arrangement of various objects on the border compliment this interesting work. Thomas states that, ?interpretation of his heads may vary because his intent is to allow the viewer to discover on his own what his intent may be or make up their own narrative or even create a completely new meaning.

Me Water

Born in Enger, Germany, in 1961, Udo Noger has exhibited internationally since 1988 with solo exhibitions throughout the United States and Germany and in Canada, Austria, Italy, Switzerland, and Spain. Painting with oil ad acrylic on canvas that is layered and also cut-out, Noger entraps light in his paintings for the purpose of highlighting his compositions and for the abstract rendering of light as a material. As a result, the light in the painting feels luminous as though it is emanating from the forms themselves. From 1981 to 1983 Noger attended Fachhochshule Bielefeld, then maintained studios in Paderborn, Berlin and Spain until 1990. From 1990 to 1992 he worked in Denver, Colorado, and in 1993, in New York, New York, both times on Nixdorf Grants. He lives and works now in Germany and the United States. As the artist develops, he pursues an intensive process of abstraction exploring the monochrome and the interaction of light, colour and space.


Chairman of the Painting/Printmaking department at Kansas City Art Institute, Rosser moved to the United States from South Wales in 1972. Although trained as a painter, he has spent many of his productive years as an artist constructing sculptures and assemblages. However, in 1998 he returned to painting due to an unfortunate mishap in his studio. During a thunderstorm he was trying to make some repairs in his studio and fell from a stepladder. Rosser received a severe concussion and broke his wrist. These injuries put an end to his sculptures and assemblages since he could no longer use his power tools to create these works. In the fall of 1998 he took a year long sabbatical and began focusing on painting once again. During the past couple of years he has produced more than forty paintings. These new paintings are fresh and not overworked, but visually pleasing. He used palette knives, stencils, squeegees and masking tape in lieu of paintbrushes.