Glimpse II, oil on burlap over panel, 11” x 14”, 2022Glimpse II (detail), oil on burlap over panel, 11” x 14”, 2022
ARRAY HUM
Austin Pratt: Artist-in-Residence, Great Basin National Park
Lilley Museum of Art, Front Door Gallery
August 8, 2022 - October 14, 2022
Artist Reception: Thursday September 8, 2022, 6-8pm
Great Basin National Park Foundation &
University of Nevada School of the Arts
Austin Pratt: Artist-in-Residence, Great Basin National Park
Lilley Museum of Art, Front Door Gallery
August 8, 2022 - October 14, 2022
Artist Reception: Thursday September 8, 2022, 6-8pm
Great Basin National Park Foundation &
University of Nevada School of the Arts
Summer’s Rain, Time’s Arrow (diptych), oil on jute over panel, 48” x 60” each, 2022
In the Summer of 2021, I was fortunate to spend 21 days camping alone as Artist-in-Residence at Great Basin National Park, located in an extremely remote region of eastern Nevada, a land which has been stewarded for centuries by Goshute and Western Shoshone peoples. Given the time and space there, I reflected on questions of history, place, narrative, scale, painting, and love.
My work exists primarily through a studio practice of painting, drawing, and assemblage. Often grainy and caustic in appearance, my painting consists of collecting and reprocessing fragmented images, textures, and patterns from wide sources. Through a painterly organic abstraction and idiosyncratic mark-making, the paintings vibrate between elusive near-recognizable images and real physical objects. At GBNP, I was immersed in a wealth of visual and experiential information, inspired from the micro and granular levels of rock and plant distribution patterns and textures, insect marking, human drama, to the grandeur of the space, sky, and history of the Great Basin.
Environmentalist and scholar Richard G. Lillard once described Nevada, “a land that is geology by day and astronomy at night.” This beautiful observation is fact, yet only a container to support the larger poetic subtext that Nevada is alive. Vast, mysterious, and diverse–in biology, story, and pattern.
Austin Pratt is an artist and educator based in Reno, Nevada. He received an MFA in Painting+Drawing at The University of Tennessee, and a BFA in Painting & Drawing from The University of Nevada. He is a recipient of the Nevada Arts Council Fellowship and his work was recently featured in New American Paintings. Pratt teaches painting, drawing, and in the MFA in Interdisciplinary Arts program at UNR.
Only longtime and well-connected west coast punks—and any lucky dirtbags, cowboy hat goths, and broken-down romantics who have passed through the sagebrush hills and smoky casino bars of Reno, Nevada sometime in the last decade—know Spitting Image. Unless you heard them on a few small run cassette tapes or 7" records with cryptic art and far-out distortion, or at a party they ritually summon to any warehouse, parking lot, basement, or Great Basin lake shore they can find, you didn’t. But thanks to Slovenly Recordings, who share a hometown with the band and have sought out the finest and grimiest punk sounds from every corner of the globe, the rest of the world at last receives a report back from these scuzz punk art freaks on their deep trip, deep in the desert: Full Sun.
And it’s dark, but that doesn’t mean it’s a bad trip. Donovan Williams’ merciless drumbeats drive downstroke rippers like “Devils Bloom” and “Still Thing,” and tracks like “Broadcast” and “Plea Dealer” play up the conversation between Jack Scribner’s beating-heart bass and Julian Jacobs’ alternately schizophrenic and soaring guitar. The 12 poems that make up this record pull together the stranger fringes of the ‘80s wave—Wipers, Gun Club, Sonic Youth, Television, early Siouxsie—with basement hardcore and hints of krautrock, psych, and industrial that show the band’s “fascination with repetition, patterns, transposing things and ideas into new contexts.” These sounds aren’t genre conventions to mash up and reference; they’re tools to express a razor sharp focus on the bliss and insight found in the periphery, the underbelly, the “places of edges,” feelings that are fleeting and serendipitous, but indisputable and eternal once felt. Austin Pratt’s zen lyricism finds unity in opposites: "full sun / humming in wisdom" and "full shade / resting in peace" all at once. The discarded casino chips glowing under faded, disorienting neon lights, and the otherworld fossils disintegrating under the relentless desert sun: now remember they’re the same thing, and you’re getting it.
Spitting Image have performed with Iceage, Ceremony, and Spiritual Cramp, and their project will make intuitive sense to fans of bands like The Men, Gun Outfit, and Protomartyr. What separates Spitting Image from their contemporaries, however, is the sound of the desert—spacious, sweltering, and shimmering on their debut LP. When mirrored glasses and a broad hat aren't enough and you squint through the white afternoon dust in the breeze—that's Full Sun. When the wildflower jewels that can't be pawned force their way through the calcified crust to sing their "lust song with the earth"—that's Full Sun. When the fucking riff kicks in, that's Full fucking Sun.
-Patrick Silby
