These are good dirty paintings. For Brock painting is an imperfect machine that repeats accidents. It emphasizes introspection, openness, and self-challenging, and conjures the possibility of higher meaning. Following the ideological and formal lineage of abstraction, and starting with a most basic mark, Brock’s work forces questions on contemporary painting and drawing. Conflicting painting is conjured, but do not necessarily cancel one another out; their coexistence is harmonious and tenuous - zig-zagging on the precipice between meaningful and meaningless. A single canvas includes synthesized but disparate abstract painting modes and materials, forcing a tension between visual unification and ideological divergence.  Mirroring forms replicate, but backwards and unconnected.  These markings are filled with, and emptied of, meaning. He approaches spiritual content by referencing New Age Spirituality, magic, Abstract Expressionism, and Romanticism, while still considering aesthetics of “anti-painting” and “painting’s autonomy.” Ideologically these works look at inner-life vs. outer-appearance and how “other” content relates to more minimal modes of abstraction, as well as expressionistic modes of figuration. Using a process that is framed by rules and procedure, yet within that box, incredibly intuitive and improvisational, the paintings become rituals that span the material world to transcendence. Specifically, the wizzardry reflects a physical manifestation or insertion of the magic imbued in art.  Bluntly testing the day-to-day logistics of the painting process, the works project an ultimate reality outside of the physical world. Staring up at their patterns, or having them impose themselves on a physical space propels thought infinitely past the limits of references and standards, into a world without them or anything else.
 
- Jeffrey Chiedo, Director of Motus Fort