A descendent of the Emberá people, the artist Delcy Morelos often compared her childhood in Tierralta to life in the novel by Gabriel García Márquez, One Hundred Years of Solitude. “I was born in paradise, a land full of yellow butterflies,” she once told Art Basel. “But violence came, fear arrived, pain arrived.” The violence she spoke of was Columbia’s long, bloody conflict between its government, far-right militants, and left-wing guerillas. The fighting resulted in over 450,000 deaths and the destruction of land she was taught to cherish. Consequently, Morelos’s art is a response to land abuse. Her relationship with nature is one of many in this exhibition at the Parrish, which looks at the ways different artists examine their environments, whether through memory or materials like soil, minerals, and beeswax. The show also features Christine Howard Sandoval’s adobe mud drawings, Sonya Kelliher-Combs’s hide paintings, and Dan Colen’s canvases with crushed flowers. In works dating from the 1990s to the present day, a stylistic through line emerges, one based on a personal attachment to place. —Maggie Turner