Gerry Brock

Artist’s Statement

The works in this exhibition are self-portraits. Those involving the human figure, not necessarily a likeness, are drawn spontaneously from within. The largest of these works are intentionally frontal views. Although saying, “look at me,” these figures are too vulnerable for direct eye contact and too exposed to let the viewer know who they really are. Not as obviously self-portraits, the remaining pieces continue to focus on my internal emotions, thoughts, and experiences. Ravens have always been personal icons. Their images evoke accepted intelligence and free spiritedness, symbolizing growth that is attainable, just within reach. These works are just a glimpse within. Branching in a multitude of directions, this series will continue.

Papermaking has been my medium of artistic expression for the past 20 years. These works combine this experience with my love of figure drawing. I use handmade paper for figurative work because of the flexibility and freedom it allows. Placing one color on top of another can act as an eraser, but multi-layering can also add luminosity and depth to the images when the viscosity of the pulp is controlled. The preparation and work involved in preparing fibers for making paper is very time and space consuming, and at times frustrating. Once I begin a piece, all these feelings are forgotten. Making paper has a calming influence, focusing me on the work.

Using a mold, deckle, and vat of paper pulp I begin by making a base sheet of paper with pre-beaten abaca fiber. The beating process requires approximately three or four hours in a Hollander beater. Abaca has beautiful long fibers that are strong and translucent. Wet abaca pulp is slippery and allows ease of movement for the next layer. I then use 100% cotton rag pulp, pre-beaten for 8 hours to the consistency of pudding. Next, this pulp is separated into plastic cartons for the addition of colored pigments. A retention agent, used to keep colors form blending into one another, is added to each colored pulp. Now I am ready to paint on the wet base sheet of abaca with individual colors. Many colors are used, painting one color on top of another. The image is then put into a 12-ton hydraulic press to extract extra water and bond all the colored pulp with the base sheet. The paper image is then placed on a piece of Plexiglas to dry. One sheet of my paper art is now complete.