Trained in printmaking practices in France, Belgium, and Germany, Marine Penhouët develops a multidisciplinary approach in which no single medium prevails. Her work relies on processes of repetition, deconstruction, and assemblage by using cut-up in the Burroughsian sense.

Her installations, often created in situ, function as constellations of artefacts arranged as dioramas. Through these settings, she explores memory by questioning emotional labor, the invisible, and the persistence of images. Her early research in sonic materials start tripping in where listening extends beyond the physical. Since January, she has been developing Flat Line, a project supported by the Belgian CTC grant, where her visual practice meets sound through electronic D.I.Y devices and experiments. This grant allows her to develop new knowledge, deepen her research and collaborate with other artists and creators.