Who said you need a brush to paint? Oscar Murillo uses sticks, brushes, rags rolled up into balls, ink-covered swabs, he exchanges paint between paintings placed on top of one another, he revisits old works and then - perhaps he just goes and covers it all with one quick swipe of paint. His work is a physical gesture, it engages his whole body and emphasises materials, confounding strokes, mediums and instruments. Of course, all of this is with good reason - the etchings laid down on his works and then cancelled evoke the fluidity of stratification, emblematic of contemporaneity, as well as the journey of all information itself, destined to soon be covered or submerged. For Murillo, reality is movement without stop that impacts on geo-political realities, where arbitrary confines have little value when facing down the wave of history. This summer, the Colombian-born artist presents three new series at London’s David Zwirner Gallery, along with an installation connected to the themes of travel, work and migratory flows. Plus, in a separate section, visitors will find a gathering of recent “knitted together” or juxtaposed works, also on display for the first time. Following the itinerary of the exhibition is like entering in Murillo’s studio, only to be overwhelmed by the volcanic variety of his creative processes. It all starts with his latest work Manifestation, with which he connects physical gesture and the idea of meaning itself with political protest and dissent.