Marlo Duchêne
Berlin Swiss-French artist & researcher
Bending computational and material processes until they almost align,I build systems that sustain the moment just before forms are recognizable.
All works prior to 2026 are published under my former name, Yaron Maïm.
Diagrammatic Practice
self-initiated
Everything begins with drawing. Iromatik is a material research into motion and dimensionality. An accumulating field of works that build their own systems of classification, fabricated between what is captured and what escapes.
Knowledge Visualisation
for Max Planck Institute for Mathematics
Folding Landscape is a research-based 3D animation developed in dialogue with scientists that engages with the topology of polyominoids, transformation, and connectivity.
3D Motion Design
for Company Christoph Winkler
Commissioned for Songs & Dances about the Weather | OKUBULA KWA BALAFU, On the Disappearance of the Glaciers, this 3D motion project was developed in Houdini for a dance and digital theatre production, using data from the World Glacier Monitoring Service.
Generative Live Visual
self-initiated duo
Suuperpose (Babin x Duchêne) is a duo working live with analogue modules and generative tools (TouchDesigner), asking what happens when technology is misused in real time.
Drawing Research
self-initiated
A decade-long inquiry: how does durational drawing bend procedural system and material performance at the threshold of recognition?
Speculative Fiction
self-initiated
Chasing GPU (2033) is a speculative fiction on body, bureaucracy, and technology. Living fragments, human–machine co-authorship as self-reflexive method. Document, text, 3D, plotter, drawing, photo, animation.
Teaching
Tiny Storms teaches generative AI video sketching, contra-prompting, and creative failure as method, while confronting the real costs and ethics of AI. It addresses the monopolization of knowledge production through artistic research.
Clients, Institutions, & Communities
Alongside my artistic practice, I collaborate with clients, communities and institutions, working across artistic direction, 3D motion design, live generative visuals, knowledge visualisation, creative technology, and teaching.
If you have a project or collaboration in mind, please get in touch:hello [at] mrlo [dot] studio
Photo credits: Miriam Woodburn, Nuno Roque, Elsa Triquet Rey, Loïc Iten, Aïsha Mia Lethen Bird, Mayra Wallraff.
Marlo Duchêne
Theatre, dance, performance, science communication, and institutional commissions.Berlin & remote.
What I deliver
3D motion design · Live generative visuals · Video design for stage · Artistic direction · Teaching
How I build it
Houdini · TouchDesigner · After Effect · Real-time AI
Drawing machines · XR · Interactive installation · Traditional painting
Recent work
Digital theatre: Company Christoph Winkler
Knowledge visualisation: Max Planck Institute, TU Berlin
Teaching: HFF Munich, School of Machines
Contact
hello [at] mrlo [dot] studio
Art & Science
Collaboration & Teaching
2025
University of Television and Film Munich
Max Planck Institute for Mathematics in the Sciences Leipzig.
2024
Center for Scalable Data Analytics and Artificial Intelligence (ScaDS AI), Computer Science, Universität Leipzig.
2023
Company Christoph Winkler, Berlin.
Art Doc Archive, Technische Universität (TU), Berlin.
Exhibition, Screening, & Live Performance
2025
Berlin New Media Week, Mahalla.
Bridges Organization, Art and Math, Eindhoven, Netherlands.
Seek Find, Soho House Berlin.
2024
School of Machines, Making & Make Believe, Berlin.
2023
Video Club, Same Heads, Berlin.
Living Gallery, New York.
2022
Air Berlin Alexanderplatz in partnership with the Swiss Embassy.
Artist Statement
Bending until things almost align.Something happens just before a form becomes fully recognizable. That moment, the almost, is where I work.I build conditions where generative, embodied, and visual systems meet and press against each other. I start from simple rules around motion and materiality and push them, through computation, drawing machines, real-time animation, speculative fiction, painting, my own body, until they persist. Almost fitting.My practice is procedural. The process stays visible, iterated through changing parameters. Software and annotations on real paper are both sketches. Trying to chase a state it wasn’t built to catch. My compositions are intuitive and engineered, deeply personal and diagrammatic.I do not illustrate data or narrative. I turn them into something that can be felt.This is why I work with scientists and choreographers: the most interesting things live at the edge of what a system can describe. Between disciplines, definitions. I am drawn to what gets left out when the world is forced into a model.Abstraction is my mode of attention. It was shaped by trans experience. I know what it is to live in the space before a category closes.
About
Marlo Duchêne, Swiss-French artist and researcher based in Berlin, builds conditions where computation, drawing, and real-time animation press against each other. They push technologies to their edge (3D, real-time AI, drawing machines) and feed the results back into a material practice, diagrammatic and visceral.They collaborate with choreographers and researchers, from independent spaces to the Max Planck Institute for Mathematics. They teach creative methodologies to scientists and technical workflows to artists.Trained in VFX/3D animation, with dual Master’s degrees in Solo/Dance/Authorship (HZT Berlin) and Critical Curatorial Cybermedia (HEAD Geneva).Abstraction is their mode of attention, a trans attunement to what systems fail to recognize.
Contact
hello [at] mrlo [dot] studio
Chasing GPU (2033) is a speculative fiction on body, bureaucracy, and technology. Chase (trans), Ray (AI), Will (author). Voices move between levels of analysis. Living fragments, human–machine co-authorship as self-reflexive method. Document, text, 3D, plotter, drawing, photo, animation.
Screened at Soho House Berlin, 2025.
Everything begins with drawing. Iromatik is a material research into motion and dimensionality. An accumulating field of works that build their own systems of classification, fabricated between what is captured and what escapes.
Watercolor study & paper sculpture, 2025.
Scanned iris, Treptower Park, Berlin, 2025.
Working in the atelier, 2025.
Material for Solometrics (2016–2019) is the origin of decade-long inquiry: how does durational drawing bend procedural system and material performance at the threshold of recognition?It incorporates DIY motion tracking, noise, and zine-making.My research investigates three temporal modalities of drawing: live (the body as drawing instrument in real time), dead (drawing as fixed record), living-dead (generative processes, between authored and autonomous).Master’s thesis, HZT Berlin, Uferstudios, 2018.
