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Remote Terminals 
Los Angeles World Airports (LAWA), in partnership with the City of Los Angeles Department of Cultural Affairs, acquired five contemporary artworks, one installed in each of LAX’s five Remote Terminals on the west side of the airport. The Remote Terminals were built to accommodate passenger traffic during the renovation and expansion of the Tom Bradley International Terminal. Artworks is on view for ticketed passengers arriving at or departing from the Remote Terminals.

The selected artworks are by Los Angeles-based artists Todd Gray, Lili Lakich, Constance Mallinson, Christine Nguyen, and Renée Petropoulos, and include two oil paintings, a photograph, a photogram, and a neon sculpture.

   Todd Gray
Pool, 2000
Color photograph, Type C print
72” x 96”
Location: Remote Terminal #218

Todd Gray produced the large color photograph Pool, which is installed in Remote Terminal #218. Created in 2000, Pool is an image from Gray’s “Europa Series.” From 2000 to 2004, Gray made several trips to Europe and it was during this period that he changed his artistic process and allowed himself to create photographs with a more spontaneous approach. Pool reflects this change in Gray’s artistic process, and, in turn, our perception of the visual world.
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   Constance Mallinson
The Course of the Empire (For Thomas Cole), 1990
Oil on canvas
5’ x 7’
Location: Remote Terminal #216

Constance Mallinson’s large-scale oil paintings consist of a distinctive painted “collage” technique in which she constructs panoramic landscapes from thousands of photo-derived images via an Old Masters technique. In addition to expanding the traditional single view landscape to incorporate multiple views, time frames, and narratives simultaneously, her paintings deal with the complex global environmental issues society is facing.

Painted in 1990,The Course of the Empire (For Thomas Cole), installed at Remote Terminal #216, is a homage to the 19th century landscape painter and early environmentalist, Thomas Cole. Using the structure of one of his paintings, Mallinson has inserted recent mass media imagery ranging from ruins to skyscrapers, the Middle East to pastoral England.
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   Christine Nguyen
Cosmic Mollusk Comet, 2007
C-prints on Sintra
48” x 80”
Location: Remote Terminal #214

Christine Nguyen’s work draws upon the imagery of science. It imagines that the depths of the ocean reach into outer space, and vision can fluctuate between the micro- and macroscopic. Forms and environs can migrate into new pieces and establish new systems that envision modes of transportation, communication, and regeneration.

Nguyen’s artwork is photo-based in that it combines drawing and photographic processes. In addition to watercolor and ink, Nguyen used materials such as saltwater, seaweed, coral, minerals, and crystals to manipulate the image. The process is similar to that of making a photogram, a photographic image made without a camera by placing objects between light-sensitive paper and a light source. Her photogram, Cosmic Mollusk Comet, was created in 2007 and is installed in Remote Terminal #214.
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   Renee Petropoulos
Trip Through the Gulf States (by Air), 2007
Oil on wood panel
53 ¼” x 12’ ¾”
Location: Remote Terminal #212

Renée Petropoulos’ large-scale oil painting, Trip Through the Gulf States (by Air), created in 2007 and installed in Remote Terminal #212, creates an environment that weaves together history and physical experience. Through the use of abstraction and forced perspective, her painting is meant to shift the viewer’s perception of the world and reshape the conduits between experience and imagination.
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   Lili Lakich 
Helios, 1991
Aluminum, glass tubing with neon, argon and helium gases
84” x 68” x 32”
Location: Remote Terminal #210

Lili Lakich began working with neon as an art student in the mid-1960s and discovered that neon was essentially drawing with light. Created in 1991, Lakich’s Helios is the most three-dimensional and complex neon sculpture of the artist’s “Sacred Icons” series. The 7-foot by 5.5-foot aluminum and neon form projects three feet out from its wall mounting and is installed in Remote Terminal #210. Although Helios is named after the Greek sun god who drove his chariot across the sky daily and the cutout forms radiating in the half-circle at the top are meant to be sun rays, the work was actually inspired by the Chinese opera masks that Lakich saw while visiting Beijing in 1988.
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