这位伦敦籍设计师是名人打造震撼视觉奇观时的首选。随着一场新的回顾展开幕，她向《卫报》展示了她的工作室。四年前，伦敦东区V&A东仓库联系了艾斯·德夫林。
The Londoner is the set designer big names turn to for eye-popping spectacle. As a new retrospective opens, she gives the Guardian a glimpse at her studio Four years ago, the V&A East Storehouse in east London got in touch with Es Devlin.
博物馆的策展人希望邀请这位英国艺术家和设计师，对俄罗斯艺术家兼设计师娜塔莉亚·冈察罗娃一幅百年前的戏剧背景画作出回应。
The museum’s curators wanted to invite the British artist and designer to respond to a 100-year-old theatrical backdrop by the Russian artist and designer Natalia Goncharova.
在1926年俄罗斯芭蕾舞团于伦敦演出的《火鸟》中，冈察罗娃绘制了一座设防的莫斯科城市景观，点缀着洋葱头圆顶和尖塔，在深蓝色天空的映衬下呈现出铁锈红和金色。德夫林对冈察罗娃知之甚少。
For a 1926 London production of The Firebird by the Ballets Russes, Goncharova had painted a fortified Muscovite cityscape festooned with onion domes and spires, rust-red and golden against a deep-blue sky. Devlin didn’t know much about Goncharova.
但当她注意到冈察罗娃用来描述其万花筒般艺术创作方式的术语时，她意识到自己找到了一位志同道合者。“她称自己为‘全能主义者’，”德夫林说道，眼中带着笑意。德夫林工作室里的在建作品
But alighting on the term she had favoured for describing her kaleidoscopic approach to art-making, Devlin realised she’d found a kindred spirit. “She called herself an ‘everythingist’,” Devlin says, a smile in her eyes. Works in progress in Devlin’s studio