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.
Monoprint
Study for a Crucifixion
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Luchini has received numerous citations and awards, including ?Young Architects? list, Progressive Architecture, 1990; ?Emerging Voices?List/Award, the Architecture League of New York in 1992 and the AIA Design Excellence Award in 1998. Besides being an associate professor at Washington University in St. Louis, Missouri, Luchini has taught at the University of Cincinnati, Harvard University, University of Texas in Arlington and Universitat Politecnia de Catalunya in Spain. He currently is the design director for Architecture at Sverdrup Inc. Both an architect and artist, Luchini grew up in Argentina and spent a great deal of time in the country and at Catholic boarding schools, which spurred his interest in religious and mythological subjects. His work also displays an attachment to the land. The figure usually is a reference to some historical person such as Jesus or St. Peter. He uses the figure as an arena that gathers emotion to such a point that the figure gradually begins to disintegrate.