The publication of An Atlas of Es Devlin coincides with the artist’s 30-year archive exhibition at Cooper Hewitt, Smithsonian Design Museum in New York, and her recent project credits include Beyoncé’s Renaissance tour – which has become the highest-grossing tour by a female artist in history. She also designed the visuals for U2’s opening performance at the groundbreaking MSG Sphere Las Vegas. Her sculptures have been displayed at the Serpentine, V&A, Barbican and Tate Modern, and her professional accolades include Olivier, Tony and Emmy awards, as well as an Ivor Novello and a CBE. The exhibition's been made in parallel with Devlin's first monographic book as well as her first record – presented as a limited-edition vinyl LP by The Vinyl Factory.

Artist and stage designer Es Devlin’s work explores 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. Made in collaboration with contemporary composers, Polyphonia, and video designer, Luke Halls, An Atlas of Es Devlin brings together poetry and prose that's inspired Devlin’s personal art practice since 2016 – and presents them as an illuminated ‘collective reading’ experience. An Atlas of Es Devlin” will examine the origins, rigor and depth of Devlin’s process through a compelling journey into her 30-year archive, charting the evolution of form, scale and intention in her practice, from teenage drawings and paintings, to designs for theater, opera, stadium concerts and ceremonies, to her current engagement with climate and civilizational crises. The exhibition will reveal thematic connections and trace the development of her groundbreaking ephemeral architectures.Cooper Hewitt, Smithsonian Design Museum will present “An Atlas of Es Devlin” from Nov. 18 through Aug. 11, 2024. The genre-defying British contemporary artist and designer Es Devlin (b. 1971) is globally renowned for her large-scale, illuminated installations and sculptures for performances. Her wide-ranging practice, which began in small-scale theater, has been experienced by millions in some of the world’s most prominent museums, galleries, opera houses, arena and stadia. Her highly collaborative work is at once deeply personal and inherently collective. Devlin views the audience as a temporary society and invites public participation in communal works to encourage profound cognitive shifts. The installation invites everyone to come and experience the monumental space that the artist has created for Free Your Mind. Find yourself surrounded by coloured light, sound and music, while contemplating a series of meditative texts read by Devlin herself.

I couldn’t even put my finger on why I didn’t go that route as a student,” says Devlin. “But at the time, I felt much more comfortable walking into a room full of people staying up all night making model theatres, and I think you make those decisions based on which rooms you want to stay in, versus which rooms you just want to walk out of. But I guess after 30 years of collaborating, I’m interested to see what I might do without collaborating as well.” Cooper Hewitt continues to push the boundaries and contribute to a more expansive definition of what design means today and how it relates to the complex world around us,” said Maria Nicanor, director of Cooper Hewitt. “Es’ work and her multidisciplinary practice embody that profound intention, which is so important to communicate to our audiences as the nation’s design museum.” The Studio Becomes a Show Devlin’s 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.Devlin creates large-scale sculptural installations that combine light, music and language. Her work is rooted in a lifelong practice of reading and drawing, from the plays, song lyrics and opera libretti that have informed her performance sculptures, to the works of fiction, poetry, geo-philosophy, anthropological economics, biology and climate science that have formed the foundation of her art and activism over the past decade. She views an audience as a temporary society and encourages profound cognitive shifts by inviting public participation in communal choral works. Her temporary participatory sculptures have been displayed at Tate Modern, Serpentine, V&A, Barbican, Imperial War Museum and Trafalgar Square. As visitors enter the galleries, they will be invited into a replica of Devlin’s London studio to sit at her desk surrounded by tools, materials and works in progress. As the studio lights dim, projections will bring the objects and walls of the studio to life, encompassing viewers in Devlin’s voice and imagination. An Infinite Archive Come Home Again,” her 16-meter-high monumental choral sculpture outside Tate Modern, drew over 7,000 visitors each day to join diverse London choirs and species in choral song during its showing in September 2022. Her rotating illuminated sculpture, “Your Voices,” entangled viewers within the 700 languages spoken in New York City in collaboration with the Endangered Language Alliance in December 2022.