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Devlins protean work is rooted in a lifelong practice of reading and drawing. From sketches in the margins of texts, be they poetry, drama, song lyrics, opera libretti, climate reports or endangered species lists, emerge the technically advanced, collectively imagined universes for which she is globally renowned. Fragile miniature paintings, paper cuts and small mechanical cardboard models form the seeds of some of the most iconic, large-scale, multi-disciplinary cultural manifestations in recent times, from public sculptures and installations at Tate Modern, Serpentine, V&A, Barbican, Imperial War Museum, and the Lincoln Center, to kinetic stage designs at the Royal Opera House, the Royal Ballet, the Metropolitan Opera, La Scala, and the National Theatre, as well as Olympic Ceremonies, Super Bowl half-time shows, and monumental illuminated stage sculptures for Beyoncé, The Weeknd, U2, Rosalía, Dr. Dre, and Kendrick Lamar. Devlins work is at once deeply personal and inherently collective. Over the past decade her art practice has engaged with biodiversity, linguistic diversity, and collective AI-generated poetry. She views the audience as a temporary society and encourages profound cognitive shifts by inviting public participation in communal choral works.An Atlas of Es Devlin
Devlins protean work is rooted in a lifelong practice of reading and drawing. From sketches in the margins of texts, be they poetry, drama, song lyrics, opera libretti, climate reports or endangered species lists, emerge the technically advanced, collectively imagined universes for which she is globally renowned. Fragile miniature paintings, paper cuts and small mechanical cardboard models form the seeds of some of the most iconic, large-scale, multi-disciplinary cultural manifestations in recent times, from public sculptures and installations at Tate Modern, Serpentine, V&A, Barbican, Imperial War Museum, and the Lincoln Center, to kinetic stage designs at the Royal Opera House, the Royal Ballet, the Metropolitan Opera, La Scala, and the National Theatre, as well as Olympic Ceremonies, Super Bowl half-time shows, and monumental illuminated stage sculptures for Beyoncé, The Weeknd, U2, Rosalía, Dr. Dre, and Kendrick Lamar. Devlins work is at once deeply personal and inherently collective. Over the past decade her art practice has engaged with biodiversity, linguistic diversity, and collective AI-generated poetry. She views the audience as a temporary society and encourages profound cognitive shifts by inviting public participation in communal choral works.An Atlas of Es Devlin