Thrasher explores not main street or the mall but the edges of community life. His post-industrial scenes, such as Wesley and Summer, present two dwarfed figures imprisoned by the barbed wire fence (meant of course to keep them out of the long-abandoned Gulf State Steel Mill). Having been pretty much rejected by post-industrial society, they are left only the detritus of life in the twenty-first century; yet they have each other. Color composition, and content contribute to Thrasher's personal statement about human relationships that are seldom easy and rarely conform to what you have been led to expect them to be. While contemporary life may be superficially empty, these people are enjoying skateboarding, loving, talking, and just being together suspended between the past and the future. - Donald Keyes
"The Ganges front is the supreme showplace of Benares. It's tall bluffs are solidly caked from water to summit, along a stretch of three miles, with a splendid jumble of massive and picturesque masonry, a bewildering and beautiful confusion of stone platforms, temples, stair flights, rich and stately palaces, softening away into the distances; and there is movement, motion, human life everywhere, and brilliantly costumed - streaming in rainbows up and down the lofty stairways, and massed in metaphorical gardens on the miles of great platforms at the river's edge." Mark Twain
Thrasher's work has been exhibited in galleries and museums worldwide, including: the ICA in London, the Yerba Buena Arts Center in San Francisco, the Ogden Museum of Art in New Orleans, the Corcoran School of Art Gallery in Washington, DC, the Cincinnati Contemporary Arts Center, the Telfair Museum in Savannah and the Atlanta Contemporary Arts Center- to name just a few. One of his most recent bodies of work, Athens Potluck, was recently commissioned for installation in the Hartsfield-Jackson International Airport in Atlanta and is now on view at the Georgia Theater Gallery in downtown Athens, GA.