The genesis of Brock’s work started two years ago with the launch of his One Portrait Project (www.one-portraitproject.art).  The heart and soul of the project, and all of Brock’s work for that matter, is about self-acceptance, which is something he wrestled with for much of his childhood and into his early adult life.   He started by photographing friends and strangers whose character and individuality were directly manifest in their physical appearance-- how they chose to present themselves consciously or sub-consciously to the outside world.  He would then ask each individual two simple questions; have you ever been prejudiced?  And, have you ever felt prejudice?  These were recorded with the subjects’ permission.

 

The first 50 portraits feature people who range in age from 24 to 86 and cross all boundaries – those of race, religion, class, nationality, sexual preference and identity.  The unifying thread is that of inclusiveness.  He is giving voice to, and creating a narrative for, Americans not often heard. 

 

Expressed through multiple applications such as video, light box installations, traditional photography and hand stitched collage-based photos, Brock’s One Portrait Project became a social practice that continues its site-specific iterations, which in turn creates dialogue within communities. 

 

Great political art from Goya to Kara Walker would be mute if the power, strength and beauty of the work itself was not borne out of passion, conviction and the mastery of its maker.  In the hands of an artist of lesser visual skill and commitment, Brock’s portraits would fall by the wayside.  The most powerful aspect of his work joins the company of the aforementioned.

 

In the first series of portraits, for example Gillian Subject 1, Donnie Subject 14, and Angus Subject 27, we find austere, close cropped, black and white unflinchingly honest beauty with its closest historical precedent Richard Avedon’s body of photographs Into the West.  I find it strange that Brock does not see himself as a photographer in the face of these stunningly beautiful portraits.  Perhaps it is his reluctance to see himself as strictly a photographer, or his background as painter that has allowed him to expand his expression to multiple mediums, though I believe what drives him is his desire to touch, hold, and feel physically closer to his subjects.

 

In his stunning collage works, Brock takes the original photos and layers them, obscuring and accenting parts of faces and isolating features.  With his use of stitches, he brings out the inherent otherness and uniqueness in each individual.  These collages actualize the noble and hard-earned self-acceptance in each of us, and celebrate what makes us different, which in turn is what makes us beautiful and most human.

 

But Brock is no soft-headed progressive lamenting what is.  The overwhelming masterwork of this exhibition is a huge self-portrait (think Christian Boltanski meets Greta Van Thunberg).  It is a multi- gridded photo/sculpture installation on light stands, the electrical cords strewn on ground, serving as some silent nervous and circulatory system, straight from the heart to his mouth, his mouth opened wide as humanly possible – 

the silent scream 

the silent spring

a war cry of self-acceptance, anger and compassion for those without voice to those in power to reach for the better angels of our nature in us all.