CHLOÉ DESAULLES IS A CREATIVE DIRECTOR working across SCREEN, STAGE AND INTERACTIVE. Her practice blends RESEARCH, MEDIA innovation AND CREATIVE TECHNOLOGY for visual storytelling.

NEW YORK CITY, NEW YORK 
PARIS, FRANCE

PHONE +1.412.539.6764 EMAIL: CHLOE.DESAULLES@GMAIL.COM
WWW.CHLOEDESAULLES.COM • @CDSLLS


FIND HER DIRECTING At
WWW.TOUCH-RESPONSE.COM


RESUME • EXTENDED BIO


SELECTED WORK


TYPEYR
ARLO PARKS “GET GO”
MUSIC VIDEO
2026
AMERCIAN MUSEUM OF NATURAL HISTORY
LIVE PERFORMANCE
2025
MEGAN THEE STALLION
MUSIC VIDEO
2025
MR TOOLS  FOR REPORTERS
NYTIMES R&D
2023
CHARLOTTTE ROSE BENJAMIN
MUSIC VIDEO
2025
ALICIA KEYS SHOWPALAST
LIVE PERFORMANCE
2023
LUCKY DAYE 
LIVE PERFORMANCE
2024
ERIE BICENTENNIAL 
MUSEUM
2024
WORLD CUP IMAGING
NYTIMES R&D
2023
IMMERSIVE JOURNALISM
FOR THE OPEN WORLD 
NYTIMES R&D
2023
LEMME
BRANDING
2022
VERSACE SHANGHAI SS21
INSTALLATION
2021
DESIGN PATTERNS FOR MIXED REALITY STORYTELLING
NYTIMES R&D
2025
MISC INSTALLATIONS • FURLA MILAN SS20 • BROOLYN MUSEUM
INSTALLATION
2020
MISC CAMPAIGN FILMS • THE MET • MONCLER GENIUS • ETC
FILM
2020
DEDICATIONS I-V
FILM
2019




SELECTED CLIENTS




032C • THE AMERICAN MUSEUM OF NATURAL HISTORY • APPLE • ARLO PARKS • BAD BINCH TONG TONG • BENEFIT • BLACK DOG FILMS • THE BROOKLYN MUSEUM • BUCK DESIGN • BY FAR • CHARLOTTE ROSE BENJAMIN • THE CFDA •  FURLA • GOOGLE • H.E.R. • HENNESSY • IDEO • KORRES • KOURTNEY KHARDASHIAN • LOCAL PROJECTS • LOUIS VUITTON •  LUCKY DAYE • MEGAN THEE STALLION • MERCURY RECORDS • MONCLER GENIUS • THE MUSEUM OF THE CITY OF NEW YORK • THE NEW YORK TIMES • NIKE • THE OFFICE OF APPLIED STRATEGY • PBS FRONTLINE • RCA RECORDS • RIDLEY SCOTT FILMS • RITZ-CARLTON • SAMSUNG • SOMETHING SPECIAL STUDIOS • SNAPCHAT • SONY MUSIC • THE STATE OF NEW YORK • TAG HEUER • TRANSGRESSIVE RECORDS • THE CODING TRAIN • THE MET • THE NEW YORK TIMES • UNA MIA • VALENTINO • VAN CLEEF & ARPELS • VERSACE




PRESS


PUBLICATIONYR
Arlo Parks - Get Go Review
STEREOGUM
2026
CitatioN ON CRAFT IN THE AGE OF AI
THE NEW YORK TIMES
2025
CHLOÉ DESAULLES : Artist Profile
INDIE EYE MILAN
2025
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CITATION  “TALK OF THE TOWN”
THE NEW YORKER
2025
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Featured FOR ‘Hangover’
PROMONEWS
2025
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2022: The Year in Visual Stories and Graphics
the new york times
2022
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Spatial Journalism: Interview with Chloé Desaulles
LAB RTVE, MADRID
2022
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NY Fashion Week Coverage
WWD
2022
Small Victories Photobook
BOOOOOOOM
2021
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Great Escapes: Creative Stylist Rachael Wang’s Favorite Short Films
BARRON’S
2020
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Director Interview with Chloé Desaulles
NYC Independent film festival
2020
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BYT Crew Love 04
Brygth young things showcase
2020
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Creating Infinite Bad Guy



Google Creative Lab
2020
TALKS & LECTURES


institution, typeYR

"Toeing the Line Between Eager and Annoying"
school of visual arts, lecture
2025
“Physical Communication Across Digital Culure, Chloé Desaulles in Conversation with Yehwan Song”
DAZED Archive Live, panel
2025
“escaping the algorithm with chloé desaulles”
day one podcast
2025
"Interdisciplinary Translation as Storytelling Agent"
columbia university, lecture
2024
"Immersive Storytelling Devices for a More Intentional World"
new york university itp, lecture
2024
two guest courses on new media
drew university, lectures
2024
two guest courses on machine learning and interactivity for the arts
columbia university at barnard college, guest lectures
2023
“On the Essence of AI: Demystifying and Deconstructing the Practice of Artificial Intelligence in the Arts”
frog design, artist talk
2023
“On the future of storytelling” 
mercedes-benz futureprooF, talk
2023
immersive filmmaking workshop & guest lecture
the frank-ratchye studio for creative inquiry at CMU
2021
“the tale of the brooklyn pastram”
processing day, talk
2019
recognition

typeYR


culture hub “new works”
residency
2026
google flow
residency
2026
dallas international film festival, gold winner for “hangover”
festival
2025
young guns 23, shortlist
award
2025
video art & experimental film festival, honorable mention for “hangover”
festival
2025
bogota international film festival, official selection for “hangover”
festival
2025
venezia shorts, official selection for “hangover”
festival
2025
heart gallery, “sacred screenshots”
group show
2024
culturehub refest
group show
2023
New York Independent Film Festival, Official Selection for “Dedications I-V”
festival
2020
Dumbo Film FestivaL, Semi-finalist for “Dedications I-V”
festival
2020
The Frank-Ratchye STUDIO for Creative Inquiry
residency
2020
Dara Birnbaum Award for “Exceptional Work at the Intersections of Art, Media & Technology”
award
2019
Miller Institute for Contemporary Art 
group show
2019
Frank-Ratchye Fund for the Arts at the Frontier For “Dedications I-V”
grant
2018
freiburger kunsthalle
group show
2015



WRITING

typeYR


1:1 TIME AS EVIDENCE FOR PROCESS
ESSAY
2025
HOLDING MY MOTHER ON THE KITCHEN FLOOR
ESSAY
2024
answered interruptions
DIGITAL FICTION
2025
on loving machines
essay
2025


This website and its content is copyright of Chloé Desaulles, unless stated otherwise. 
© 2026 ALL RIGHTS RESERVED LAST UPDATED 01-09-2026


LIBRARY
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Selection of finished documentation, behind the scenes, and in progress works for the stage, the screen and the internet. This website and its content is copyright of Chloé Desaulles, unless stated otherwise. © 2026 ALL RIGHTS RESERVED LAST UPDATED 01-09-2026
15    ARLO PARKS - GET GO
TYPE: MUSIC VIDEO
11/03/2026
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Direction, editing and custom computational graphics for the music video “Get Go,” which “perfectly encapsulate the sense of melancholy and euphoria at the center of the record," Parks explains in a statement. "It's about the dance floor as a means of healing, understanding yourself and discovering your relationship to love." The piece was created using custom programmed software, which distorts the shot reality, into time and space, blurring motion, color and architecture. Harkening back to nostalgic textures and color, 'Get Go' becomes an ambient, moving painting depicting the feeling of being on the dancefloor and looking from the outside in.
14    VAN CLEEF & ARPELS FOR THE MUSEUM OF NATURAL HISTORY
TYPE: CONCERT
09/04/2025
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Creative direction and live interactive visuals for Van Cleef & Arpels and the opening of their exhibit 'Cosmic Splendor' at the American Museum of Natural History. The evening showcased a musical performance by the Grammy Award winning composer Caroline Shaw accompanied by the Orpheus Orchestra playing Philipp Glass. Inspired by the beauty of the cosmos and the way light refracts through different materials, the performance included five phases of transition of light, transitioning from light on earth, to its impact further in the atmosphere. The official documentation is kept private based on client requests, most of these shots are unofficial phone documentation. Please reach out for more information or visuals on the project.
13    MEGAN THEE STALLION - ACT II
TYPE: MUSIC VIDEOS
09/09/2024

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Live generative and audio reactive visuals for three of Megan Thee Stallion’s tracks on her album Act II. Project is under NDA. More information available upon request.
12    MIXED REALITY TOOLS FOR REPORTERS FOR THE NEW YORK TIMES
RESEARCH & DEVELOPMENT 
05/06/2023
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R&D is working with the newsroom to identify areas where mixed reality headsets can aid reporters in capturing and delivering the news. What tools could we create to expedite information gathering in breaking news situations? How might we instantly create 3D models of spaces instead of needing to manually draw them by hand? Can mixed reality help reporters reconstruct a news event by spatializing found footage?

In collaboration with journalists who regularly report on stories that require visual analysis, we identified scenarios where mixed reality hardware could improve on-the-scene information gathering and promote deeper investigation. Below, we explore these opportunities, focusing on two MR application areas: spatial investigation and spatial reconstruction.

You can read more about our published research here at RD.NYTIMES.COM
9    CHARLOTTE ROSE BENJAMIN “HANGOVER”
TYPE: MUSIC VIDEO
25/04/2025
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Music video, directed, shot, edited and animated by Chloé Desaulles. The work was shot and edited using a multitude of experimental filmmaking techniques, both 3D and live action, which were assembled and layered digitally.Utilizing innovations in photogrammetry technology and gaussian splatting, Charlotte Rose Benjamin's sets were assembled both physically through environmental cutouts and material furniture elements, as well as digitally through 3D modeling, custom machine learning, and painted in-software. As the artist navigates these threshold spaces, she embodies the cyclical nature of grief: memory dissolving into reality, heartbreak transforming into release. The work, playing with the individual textures of physical and analog media, captures Benjamin caught in an eternal seasonal and environmental cycle: a pendulum swinging between physical reality and digital ethereality, until she is eventually graced with her own release.

13    ALICIA KEYS AT SHOWPALAST
TYPE: LIVE PERFORMANCE
20/03/2023
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Preliminary concepting and art direction of stage design for Alicia Keys at the Munich Showpalast. Originally concepted for H.E.R at the LA Academy Museum, which's semi-circle opening onto the hollywood hills is reminiscent of a rising sun, the designs play with and respond to the artist's warm and soulful voice, with grand natural visuals surrounding her on the immersive stage. A simple, warm and all encompassing stage was designed to look striking in the open glass venue, highlighting the glamour of the artist and creating a shadow play for the rest of her band. After my departure from the studio, the concept was finally implemented for Alicia Keys at The Munich Showpalast instead. Creative : DE-YAN studio. Creative Director : Dejan Jovanovic. Lead Architect: Camila Romano. Supporting architects : Stefan Djordjevic, Filip Vasic, Eric Satoru, Nikola Dragojević, Mladen Jankovic, Ognjen Milenkovic, Sava Kesic.
09    LUCKY DAYE 
TYPE: LIVE PERFORMANCES
09/03/2026
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The background visuals for “Hericane” were inspired by sfumato techniques in Italian Renaissance oil painting, layering and animating digital storm imagery made from custom built datasets. I created each image in the dataset from my own photographs, by hand, and then trained a model to blend them in organic ways. The artwork was also used for the official album cover (although I do not condone their color grading choices).



“Think Different” was created by capturing Lucky volumetrically, creating custom point clouds made from morse code symbols, and juxtaposing them in 3D space with live action footage.



The background visuals for “Soft” were built using real-time, audio reactive software, responding to Lucky’s voice and instruments during the live performance.

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These performances represent a triptych of visuals I made custom for the artist Lucky Daye as commissioned by RCA Records. For each, I programmed a custom tool helping me achieve the background visuals and music video effects. 
08    ERIE BICENTENNIAL
TYPE: MUSEUM
25/04/2023
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“The Waterway of Change will share the remarkable story of the Erie Canal and the area known as Canalside with visitors. As the 200th anniversary of the Erie Canal approaches, this visitor experience will draw more people to Buffalo’s waterfront and help them connect to its history in a new and participative way.”


- Governor Kathy Hochul



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Led the art direction for the concept, story experience, media and physical design of the Erie Canal Bicentennial exhibition and celebration scheduled to open in the Spring of 2025 alongside the studio Local Projects. Please email cdesaull@gmail.com for any project inquiries. Project contributors: Brook Anderson, Eric Mika, Delia Denson, Jenny Wong, Nina Boesch, Jenn McDermott, Sophie Swanson, Edwin Lam and Cindy Chang.
07    WORLD CUP QATAR 2022 IMAGING FOR THE NEW YORK TIMES R&D
TYPE: RESEARCH & DEVELOPMENT
08/12/2022
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The New York Times Graphics desk and NYTimes R&D teams joined forces to model key moments of the World Cup using machine learning and 3D reconstruction. As FIFA does not allow for any news organization to capture video at the stadium (besides channels broadcasting the games live) our team decided to recreate key actions of the World Cup by 3D reconstructing the scene in 3D from photographs using ICON (Implicit Clothed humans Obtained from Normals). This allowed for a more natural way to experience motion and (inherently spatial) high level sports, compared to still photography. Team : Karthik Patanjali, Mark McKeague, Alexandre Deveaux, Malika Khurana & Or Fleisher. 

Here are a list of articles published during the world cup using this technique:


Richarlison, Messi and Pulisic: Three Stunning Goals Frozen in Time


How Pulisic Crafted the U.S. Goal in Its World Cup Opener Belgium’s Long-Ball Goal Sinks a Determined Canada


Weston McKennie Is Going to Want This One BackGermany’s Late Equalizer Revives Its World Cup Hopes Watch Christian Pulisic Send the U.S. Past Iran and Into the Knockout Rounds


New York Times : 2022 Year in Graphics




The method we developed in creating 3D imagery through machine learning became compelling for the World Cup as the New York Times and other media outlets are only authorized to shoot still photography from a single vantage point on-site. The still photography medium however, is not best suited to deconstruct motion, position and gesture in space, which sports journalism benefits from.

Through this method, we were able to extrapolate spatial information from a single photograph, allowing a reader to see the game from different perspectives and gaining more insight into the reality of goal scoring. You can read more about our process in the New York Times R&D research article Modeding Key World Cup Moments with Machine Learning.
06    IMMERSIVE JOURNALISM FOR AN OPEN WORLD AT THE NEW YORK TIMES R&D
TYPE: RESEARCH & DEVELOPMENT
08/06/2022




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This New York Times R&D project explores how mixed reality headsets could surface Times journalism directly within readers' physical surroundings, drawing on the paper's 171-year archive to annotate real-world spaces with relevant reporting. Using computer vision and geolocation, the team prototyped a system that rewards curiosity and exploration rather than forcing a linear story onto the world. Key design ideas included gaze-triggered discovery, subtle wayfinding cues, and tethering headsets to mobile devices so articles could be read later, all built around an "open world" approach that treats mixed reality as an open-ended space rather than a fixed narrative path.

05    LEMME
TYPE: BRANDING & STRATEGY
11/11/2022
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Executed early concepting, art direction and creative strategy for the branding and packaging of Kourtney Kardashian’s new vitamin supplement brand Lemme (including naming and gummie shapes). Creative director : Dejan Jovanovic; Lead designers : John Portis, Britt Gudas, Sohyun Park, Dušan Miletić. Sketches all by Sohyun Park.
04    VERSACE SHANGHAI
TYPE: INSTALLATION
03/10/2021
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Concepted, designed and programmed an interactive LED floor Versace’s pop-up store during China Fashion Week. The floor features a 3D underwater world with iridescent water shaders that react to a user’s footsteps. Pink 3D animals interactively swim below user’s feet when a person is detected, and a flocking algorithm was implemented for fish that swim towards users as they walk on the surface.

Additional art direction and creative concepting work done on the original installation concept and structure design. Creative and production executed by DE-YAN studio.
03    DESIGN PATTERNS FOR MIXED REALITY STORIES
RESEARCH & DEVELOPMENT 
05/11/2023
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This project explores what it means to design for mixed reality at the scale of the world's largest newsroom, whose print and web formats have been refined into some of journalism's most recognizable design standards. We wanted to find a consistent MR "house style" in a medium with almost no shared conventions, where every reader's physical space is different. Our answer was "the fish tank," a flexible tabletop stage that scales from a small floating display to a full room, offering a repeatable pattern that could support producing MR stories at a regular cadence rather than one-off experiments. That same balance, between systemic consistency and the openness of a new medium, shaped how we approached narrative (a segmented timeline and subtle gaze cues that guide without forcing a single path) and information design (tangible 3D data, voiceover, and spatial audio in place of dense text).
2    MISC. INSTALLATIONS
TYPE: INSTALLATIONS
05/20/2020 - PRESENT
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FURLA MILAN SS21 

Art direction and concepting for the 2021 Milan Fashion week pop-up, debuting their new purse Re : Candy.




BROOKLYN MUSEUM VR

Art direction and user experience design for a immersive narrative exhibit for the Brooklyn Museum via Buck Design. Under NDA, more information upon request.




BY FAR FLAGSHIP STORE

Preliminary concepting and AD for BY FAR’s first flagship store in Los Angeles for DE-YAN studio. Lead designer : Jing Ju.




BH SS23 INTERACTIVE ARTWORK

Interactive artwork commissioned by the streetwear brand Bobblehaus for their debut runway show and to be installed long-term at their first flagship store. The design, inspired by the collection colors and theme which draws from nature for a more contemporary streetwear look, takes the form of a interactive topography, which elevates and falls in response to a user’s footsteps. 3D metalic tulipas fall interactively and land on the 3D mesh which forms the digital landscape, stuck below the glass floor. More documentation to come.
5    MISC. CAMPAIGN FILMS • THE MET • MONCLER GENIUS
TYPE: FILM
02/02/2020 - 10/20/2021 





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Moncler genius 

Early art direction and concepting for the Moncler Mondogenius 2021 CGI commercial with my team @ DE-YAN studio.



SAMSUN UNFOLD 

Art direction and concepting for the Samsung Z-fold 2021 CGI commercial via DE-YAN Studio.