Commenting on the development of his painting process, Brock notes: "I was making these marks, and I was painting over them, and I was essentially starting to treat my paintings in literally the same way I would treat a wall. If you have spray paint on your wall, the only way to cover it up is to use primer, and white spray paint, and sanding paper, you sand it away, and you prime it, and you sand it, and you prime it, the same way you repair walls, and try to get them back to a clean state. So I just started treating my paintings in that same way. It was always really connected to this very practical labor thing that came out of building out my studio... My paintings are all very labor intensive, they take a really long time, and I think that’s great. There’s something more real and practical, and satisfying and grounding about repetitive labor than something that’s about just some obscure erudite decision that is supposedly meaningful to the people that read a text. There’s something really reassuring and basic about labor—doing things with your hands, spending eight hours a day doing it, having it be a physical thing, as opposed to anything else."