The Art of Coexistence: Es Devlin’s Radical Vision for a Divided Britain
What if a portrait could heal a nation? It sounds like the premise of a fantastical novel, but artist Es Devlin is turning this idea into reality—or at least, into a thought-provoking installation. Her latest work at the National Portrait Gallery isn’t just art; it’s a quiet rebellion against the forces tearing Britain apart. Personally, I think this project is more than a visual spectacle—it’s a mirror reflecting our collective yearning for connection in an age of isolation.
A Portrait of the People, By the People
Devlin’s installation, A National Portrait for the National Portrait Gallery, is a living mosaic of selfies uploaded by ordinary Britons. These faces, rendered in her signature charcoal-and-chalk style, drift in and out of one another, creating a constantly evolving portrait of the nation. What makes this particularly fascinating is how it democratizes the concept of a national portrait. Instead of monarchs or celebrities, it’s the everyday person who takes center stage.
But here’s the twist: the faces don’t merge seamlessly. They snag, jar, and sometimes clash before resolving. Devlin calls this imperfection ‘truthful,’ and I couldn’t agree more. It’s a metaphor for Britain itself—a nation grappling with its differences, yet somehow still standing. In my opinion, this imperfection is the heart of the piece. It’s not about erasing divisions but acknowledging them and finding a way to coexist despite them.
Technology as a Tool for Connection
What many people don’t realize is that this project is as much about technology as it is about humanity. Devlin collaborated with Google Arts & Culture Lab to train an AI model on her hand-drawn portraits, transforming selfies into something more intimate. This raises a deeper question: can technology, often blamed for isolating us, be repurposed to bring us together?
Devlin’s answer is a resounding yes. She calls it an act of ‘reappropriation,’ dancing with her own shadow in resistance to the systems that divide us. From my perspective, this is where the project becomes truly radical. At a time when artists are wary of AI exploiting their work, Devlin is using it as a tool for unity. It’s not surrender—it’s a reclamation of technology’s potential to connect rather than distract.
The Analogue Spirit in a Digital Age
One thing that immediately stands out is Devlin’s focus on attention. In an era of algorithmic feeds and constant outrage, she invites us to slow down, to really look at one another. This isn’t just about art; it’s about reclaiming the human experience. If you take a step back and think about it, this is a profoundly countercultural act. In a world that thrives on noise, Devlin is championing silence.
Her workshops, both in-person and online, extend this invitation. By teaching people to draw and be drawn, she’s creating moments of stillness—a rare commodity today. A detail that I find especially interesting is how she’s taking this beyond the gallery walls, into town halls, libraries, and schools. It’s not just about art; it’s about making everyone feel seen.
The Power of Being Seen
Ravinder Tagarh, a security guard at the gallery, captures this perfectly. Seeing his portrait alongside royalty and celebrities made him feel like he belonged. What this really suggests is that representation isn’t just about visibility—it’s about validation. In a country where many feel like outsiders, Devlin’s project offers a moment of hope.
But let’s not romanticize it. Britain’s divisions run deep, and a portrait—no matter how moving—won’t solve them overnight. What it can do, however, is remind us of our shared humanity. Personally, I think that’s a start.
A Broader Reflection on National Identity
Devlin’s work isn’t just about Britain; it’s about any society grappling with fragmentation. What this really suggests is that national identity isn’t static—it’s a process, always changing. In a world where identities are weaponized, this is a refreshing perspective.
If you take a step back and think about it, the project is also a critique of institutions like the National Portrait Gallery. By making it more accessible, Devlin is challenging the notion of who belongs in such spaces. It’s not just about opening doors; it’s about redefining what’s inside.
Final Thoughts
Es Devlin’s installation is more than art—it’s a conversation starter, a call to action, and a moment of reflection. In my opinion, its greatest achievement isn’t the technology or the visuals; it’s the questions it leaves us with. Can we coexist despite our differences? Can we reclaim technology for connection? And most importantly, can we slow down long enough to see one another?
What this project really suggests is that the answers aren’t in grand gestures but in small, intentional acts. Personally, I find that both humbling and hopeful. In a divided world, maybe that’s enough.
