Terminal 2

Recast by Sarah Frost

Post-Security, Concourse East Wall

Exhibition dates: Now through October 2024
Each element in Recast has been cast from something found in one of the 79 neighborhoods that comprise the City of St. Louis. The objects that were cast were chosen for their visual interest and include everyday items, temporary installations, and parts of the built environment and landscape. They were made from a variety of materials, such as cast iron, discarded plastic or centuries-old brick; they range from handmade to mass-produced. Some reflect wear patterns, decay or meticulous care, evoking people and the passage of time. Like an artifact of the city, each cast embodies the physical characteristics of a unique place and moment in time. They are juxtaposed on the wall for visual effect, revealing similarities and differences.

Frost’s exhibition concept initially grew out of walking the sidewalks of the city, often while on an errand or lunch break, and discovering interesting forms. She noted these locations and returned to them later to make an imprint of the form. Working in the studio, she used the impression as a mold to cast plaster into. As this project evolved, it became a way to discover and engage with the city’s environment, past and present. As the main point of arrival and departure for residents, visitors, and newcomers to the St. Louis area, St. Louis Lambert International Airport is a fitting context for this work. Similar to the way a place lives on in a traveler’s memory after departure, these casts physically retain the ‘memory’ of the sites from which they were created.

About the Artist:
Sarah Frost is a St. Louis-based sculptor and installation artist who often works with found objects. Her work has been exhibited in solo and group shows, including Laumeier Sculpture Park, Contemporary Art Museum St. Louis, PPOW Gallery in New York, Corcoran Gallery of Art in Washington, DC and CODA Museum in Appeldorn, Netherlands. Frost’s work is in private collections and is shown locally at William Shearburn Gallery. She also works as a set painter at local theaters and exhibit design shops.

Interior Space by The Space Museum

Post-Security, Concourse West Wall

Exhibition Dates: Now through March 2025
Traveling through Terminal 2? Be sure to take a moment to visit “Interior Space”, a collaborative photography project between artist Roland Miller and astronaut Paolo Nespoli documenting the International Space Station (ISS).

About the artist:
Presented by The Space Museum & Grissom Center in Bonne Terre, MO, the images investigate the technological, sociological and scientific aspects of the ISS.

Performance of Change by Flo Art Collective

Post-Security, near gates E34 and 36

Exhibition Dates: Now through December 2024

Two static pieces that harness movement and human interaction, mimicking the energy of how individuals flow in and out of their own lives like tourists are what travelers can view as they are moving down the walkways in Terminal 2. The works explore deeper connections to the history of the landscape and the fabric of time that weaves together the past, present, and future. The works on display by Flo Art Collective are through the lenses of four collaborating artists, all transplants to the region, who are multi and transdisciplinary in their practices. Travelers can feel the connection with these stunning works as the cotton fabric prints move with them on their journey through the airport.

About the artist:
About Audrey Nicole Simes
Audrey Nicole Simes is a transdisciplinary performance artist whose immersive work blurs the line between art and everyday life. The resulting works highlight her broad interests in family narrative and cultural memory, woman as subject matter, individual agency and social control, militarization, surveillance, and environmental disaster. Simes is artistic director of Flo Art Collective, an art and dance theater collective based in St. Louis. Her independent works and performances have been showcased at the Touhill Performing Arts Center, the Grandel, Saint Louis International Film Festival, Regional Arts Commission, Hoffman LaChance Contemporary, Kranzberg Arts Center, and Copenhagen Artists in Residence.

About Dr. Bill Russell
Dr. Bill Russell’s work is a collection of stories, guerilla art, experimental architecture, wearable garments, digital media, and large-scale fiber art installations. Inspired by Dadaism, Hilla and Bernd Becher, and I. M. Pei, Dr. Bill examines the subtle changes in architecture and environments to reveal the hidden infrastructures of American consumerism and social inequality. Dr. Bill holds advanced degrees in physical medicine, acupuncture, and the fine arts, including a BFA in Ceramics and Printmaking and an MA in Weaving from Pittsburg State University and an MFA in Multimedia from Washington University.

About erika fruit
erika fruit is a process-based artist working with/in and across movement, performance, video, text, and other organic matter to create de/compositional performances blurring the endings + beginnings of bodies, feelings, language, space, and time. She is currently making work with and about exquisite corpses, hands, and queer, anti-imperialist japanese femme demons. erika is transient.

About Kevin de Miranda
Kevin de Miranda is a St. Louis-based cinematographer and producer who has a passion for weaving images, sound, and storytelling. His work spans a variety of genres including music, films, documentary, commercial, and narrative. de Miranda developed his cinematography skills through intensive self-study, mentorship, and the completion of hundreds of commercial projects in a variety of industries. Kevin has a Master’s degree in classical guitar performance from University of Denver and, until 2020, had an active career teaching and performing in China.

To learn more, visit: audreysimes.com/permanenceofchange / @audreysimes

Engage Ingenuity / Passages / Identifying Time by Chris Day

Post-Security, near gates E34 and 36

Exhibition Dates: Now through September 2025

Chris Day focuses on aspects of civil infrastructure and how its development and maintenance is crucial to sustain health and growth in a city. He relates this to the human body and how it must regenerate itself for health and longevity. Having studied the human form for many years, Day challenged himself to create a composition without the human figure while still maintaining a human presence. In this work, the audience is introduced to familiar places and iconic images of civil infrastructure, such as bridges, overpasses, and bulldozers. Day finds that the process of painting also symbolizes the regeneration that must happen both in infrastructure and within our own bodies. Day builds up and tears down the paint repeatedly until he arrives at what he feels is a harmonious balance between incomplete and complete details. When the viewer places themselves into the painting for at least a moment, they become active in the possibilities of the materials itself.

About Chris Day
Chris Day has an MFA in Fine Arts from Fontbonne University. He is currently an Assistant Professor for St. Louis Community College Florissant Valley.