Artist and polymath Es Devlin shows no sign of slowing down…

Devlin recently featured on the cover of the latest print issue of Fact, released her first record with The Vinyl Factory, published her extensive monograph and showcased a new short film at both Factory International in Manchester and 180 Studios in London.

These seemingly disparate projects are drawn into a whole by Devlin’s ability to weave together art and music across a variety of fields, as she reveals in this new short film shot at 180 Studios.

Devlin, who recently released An Atlas Of Es Devlin via The Vinyl Factory – a collection that captures 20 of her works’ soundscapes – spoke with us about her collaborative relationship with producers Polyphonia, her artistic process and the fluidity of creative identity.

Devlin’s protean work is rooted in a life-long 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 Beyonce, The Weeknd, U2, Rosalìa, Dr Dre and Kendrick Lamar.

Read next: Interview – Es Devlin