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For some years now, Oscar Murillo has been making work in aeroplanes Out of necessity as much as desire, the Colombia-born artist now calls many places home He has recently shown in New York, Shanghai, Cambridge, Baku, Venice, Ramallah, Gwangju, and Sydney – a non-exhaustive list The critic Viktor Wang has dubbed Murillo’s ‘expanded practice’, which utilises these ad-hoc studio spaces, ‘flight mode’   How to describe Murillo’s work in 2020? He is so prolific that I saw three discrete, overlapping shows of his works within a single summer The artist, who exploded into the art world in 2013, is in a fecund phase Though Murillo was initially synonymous with loud and expressionistic oil pantings, his work today spans mediums — video, drawing, installation, sculpture — and is united more by its themes than by any unified aesthetic   I first met Murillo at the top of David Zwirner gallery in London on a Monday morning in June 2019 He had just started installing his show, Manifestation (2019), that would open that Friday evening He refused coffee, professing that he was pumped on the adrenaline We sat on couches in front of a Luc Tuymans painting – Three Percent (2017), a ghostly bluish close-up of a face in profile – that he would reference several times Later, as we walked out, he gave brisk instructions to the crew who were installing his paintings and constructing a pavilion for an opening night performance In the fall, we spoke again — I in New York, he in Colorado — a week before he became one of the joint winners of the 2019 Turner Prize We spoke one last time in April during the COVID-19 pandemic, while we were both hunkered down for the foreseeable future in New York and Colombia, and revisited some of the newly unstable assumptions of our previous interviews and of the art world at large   Murillo is thirty-four, still young for practically a household name He graduated from the Royal College of Art with an MA in