LONDON.- No 20 Arts is presenting BRULAT | PULIDO | ROBERTS, a group show featuring works by Ruben Brulat, Jhonatan Pulido, and Keith Roberts. From sculpture and painting, to film and works on paper, the exhibition explores how the three artists document changes in nature, culture, and crises.

Ruben Brulat creates sculptures, photography, and paintings which reflect upon the relationship between humanity and nature. His work absorbs and is absorbed by its natural surroundings, from the initial inspiration to the use of found materials and natural processes in the works’ creation.

Beginning in the forest, images are created from the surrounding flora and fauna. These images are printed, scanned, and reprinted before returning to the forest as objects to be buried. After a time of absorption, they are unearthed, rinsed, and appear as artefact: as sculpture. The sculptural paintings, a new exploration for Brulat, are once again born from a dialogue with the forest. His observations seep through the paintings, which become a visual study and a celebration of nature.

Drawing on his personal experiences and memories from growing up in rural Colombia, Jhonatan Pulido creates works as an act of memory. His paintings reflect upon Colombian architecture, the traditions of rural communities, and the relations of these to socio-cultural conflict.

Although his work has social and political roots, the process of the painting itself takes prominence for Pulido. When the volume of the story threatens to exceed the act of painting, he works to create a balance with the materiality of the painting. He is more interested in the ‘how’, than the ‘what’.

Working through sculpture and painting, Keith Roberts presents artwork which is deliberately slow to form in the mind of the viewer. His visual language is reductive but pushed towards the poetic.

In Scintilla, uniquely formed balloons hang suspended from the ceiling. Roberts reflects upon the notion of airborne passage, of the balloons, and of the virus. Whereas ‘scintilla’ recalls a tiny atom, a speck, a particle; here the objects come together to form a sculpted mass, yet maintain a lightness through their suspension. In My Tongue Now Sleeping, Roberts also returns to ideas of his earlier artwork, focusing on bells. Here the clappers, the tongue of the bell, hang as though collected for safekeeping. Separated and unable to sound out, they have become a memory of distant voices lost.