Terminal 2

Shared Spaces by Sarah Lorentz

Post-Security, Concourse East Wall

Exhibition dates: Now through June 2025

Lorentz regularly paints at locations around St Louis, capturing historic landmarks, public greenspaces, and cultural events. Plein air work is done on location from direct observation, often completed ‘alla prima’ in a single sitting. This requires a reactionary effort, wet paint layered into wet paint, responding to the work as it is created. In all of her work, she strives to maintain a sense of expressiveness through the use of saturated colors and confident brushstrokes which are a reminder of the process and the physicality of the material. Her paintings capture not only the visual record of the scene but also the experience of the specific time it was created. This collection showcases the vibrancy of The Great Rivers Greenway and the diverse scenery of our many public parks. Together, the paintings create a tapestry of beauty and color, showcasing all the life and energy, but also the peace and tranquility that exists in St Louis. The paintings together are a portrait of our city’s shared spaces.

About the Artist:
Sarah Lorentz is a St. Louis-based painter creating energetic compositions full of bold brushwork and electric color. Though the subject matter of her work ranges from evocative figures to pastoral landscapes, the physicality of material and deliberate remnants of the process reveal the same confident hand behind the brush.

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.

Mound City Chronicle by Jason Gray

Post-Security, near gates E34 and 36

Exhibition Dates: Now through December 2025

Mound City Chronicle is more than a series of images of St.Louis. It is a testament to a path made through the city at this moment; a path meant to investigate Jason’s place and impact here, and the history of those things (like the Mississippi River, cultural forces claim, carve away and redefine). The photographs tell the story of a journey that includes lost-and-found subterranean lakes and caves, sites removed from public view (due to security, secrecy or both), neighborhoods with buildings crumbling in ruin or of stately grace, and the people encountered, vibrant and varied. He is very much in the photographs too.

Mound City Chronicle is postdocumentary work, perpetuated by Jason’s own decision making of where to point and when to click—a journey with no clear destination and many side roads. It is not a usual telling. This is important. For just as the aboriginal mounds of “Mound City” are all but gone, so will be many of the places and people photographed. Like a dream, only their impressions will remain.

About the artist:
Jason Gray is a freelance photographer and artist specializing in post documentary work. His clients include Island Press, the Dallas Museum of Art, KDHX, Sofar Sounds, St. Louis Magazine, Terrain Magazine, and more.

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.