Es Devlin Brings Venetian Craft Spectacle to Center Stage—With New York Watching Closely

On a crisp September morning, Es Devlin stood in the heart of the Venetian lagoon, orchestrating a spectacle that felt as much like a city as any corner of Manhattan. The British designer, revered in New York for her audacious set pieces at the Park Avenue Armory and Broadway theaters, has now assembled 500 artisans for the Homo Faber Biennial—each a singular voice in the global chorus of craft.

Devlin’s installation, a labyrinth of light and shadow, showcases everything from delicate Murano glass to intricate textiles, turning the exhibition halls into a living map of creativity. For New Yorkers, it’s a reminder that the art of making—so often hidden behind storefronts in Gowanus or tucked into Garment District studios—remains a currency of urban life. The craftspeople Devlin spotlights are not just from Venice but hail from around the world, echoing the internationalism that pulses through every borough.

Back in the city, this biennial lands at a moment when craft is reclaiming its space in the cultural conversation. On Thursday, Chelsea galleries buzzed with collectors seeking out contemporary ceramics, while local designers at Industry City discussed how handwork is shaping small-batch production. Devlin’s vision abroad mirrors a rising appetite here for the tangible and the personal—an antidote to the algorithmic.

The Homo Faber Biennial runs through October, but its influence ripples across the Atlantic. Several New York artisans, including Lower East Side metalworker Ana Ramirez and Harlem textile artist Malik Johnson, contributed pieces to the Venetian showcase. Their participation underscores the city’s role as both incubator and export center for skilled craft. As Devlin’s extravaganza unfolds, New Yorkers are taking note—not just of the spectacle, but of the enduring value of work done by hand.