Stock adapts her process to meet the context of her life. This flexibility allows her to work anywhere, and in the early months of the pandemic Stock worked exclusively from home, developing studies and small works. Only recently back in her studio, Stock expanded upon a series of woven paintings with a sense of urgency and vision. Varying in medium, scale, and touch point, the works all draw from Stock's desire to queer the traditional grid, as used in both weaving and painting. She repurposes and invents strips of linen, paper, and acetate for the works, which she then carefully weaves or intersperses with other materials. Oftentimes adding her own mark making, painterly gestures, and areas of visual contrast, Stock always seems to inflect a certain sense of humor or surprise. Though steeped in material investigation, Stock's work is conceptually driven. Her titles may provide hints at meaning, at times related to her own personal anecdotes, while at others more collective and temporal in nature.
"Cutting and weaving the material is a process of both destruction and construction. Leaving room for synchronicity and randomness, I surrender the final product to the process, not knowing exactly how the piece will look until it's woven. The final pieces reference and resist the grid. Part textile, part painting, part material construction, the works express visual narratives in homemade pixels, a fragmented and mended surface, a whole that is more than the sum of its parts."