Capucine Frecciani
French visual artist and photographer Capucine Frecciani explores the fleeting space where physical reality dissolves into memory and imagination. Through intricate, AI-free digital double exposures, she layers separate moments and landscapes into ghostlike visual harmonies
Bassin d’Arcachon Series (2026)
Contre-jour, 2026. Digital double-exposure photography, fine-art photographic print. 60 × 45 cm or 80 × 60 cm.
L’Île aux Oiseaux, 2026. Digital double-exposure photography, fine-art photographic print. 45 × 60 cm or 60 × 80 cm.
Les Tchanquées, 2026. Digital double-exposure photography, fine-art photographic print. 60 × 45 cm or 80 × 60 cm.
From the Atelier Collection
- Capucine Frecciani
Capucine Frecciani is a French visual artist and photographer based in Copenhagen, Denmark, whose contemporary practice is built on a deep fascination with the fluid space between reality, memory, and imagination. Raised in France’s Bassin d’Arcachon, she originally studied economics before fully embracing her creative path after acquiring her first professional camera in September 2025. After formative periods living in Hong Kong and travelling across Asia, and ahead of a planned relocation back to Asia in January 2027, her work has evolved into an ongoing exploration of emotional resonance and lingering atmosphere. Drawing on an international body of work spanning Cambodia, Venice, the Bassin d’Arcachon, and the Atlantic islands of Madeira and Tenerife, she debuted her solo photographic exhibition, Rémanences, in Pyla-sur-Mer, France, in October 2026.
Capucine Frecciani’s process is rooted in intuitive observation and post-production experimentation, letting coincidence, instinct, and unexpected visual connections guide each image's evolution. Sparked by a serendipitous reflection captured in Hanoi, her approach centres on digital double exposure, layering two or more original photographs, created entirely without artificial intelligence, so separate moments, textures, and perspectives can coexist. Drawing inspiration from architecture, shifting light and shadow, and the emotional afterimage of travel, she moves fluidly between carefully considered pairings and spontaneous discoveries. This experimental practice has increasingly pushed her extensive travel archive toward more abstract, suggestive compositions, allowing contrasts between colour and black-and-white to dissolve into ghostlike, evocative atmospheres.
Working exclusively with her own photography, Capucine builds each piece with a delicate focus on transparency and compositional equilibrium, ensuring that no single frame dominates another. Her limited-edition fine-art prints, produced on Hahnemühle Photo Glossy 260 gsm paper or mounted under glossy acrylic with aluminium Dibond backing, offer no literal documentation of a single place or time. Instead, they function as layered emotional landscapes where the viewer can step beyond objective reality and project their own memories and reflections onto the surface.
Venice Series (2026)
Arcades, 2026. Digital double-exposure photography, fine-art photographic print. 40 × 60 cm or 60 × 90 cm.
Atlas, 2026. Digital double-exposure photography, fine-art photographic print. 60 × 40 cm or 90 × 60 cm.
Dômes, 2026. Digital double-exposure photography, fine-art photographic print. 40 × 60 cm or 60 × 90 cm.
“I’m searching for images that are more faithful to emotion than to reality.”
Cambodia Series (2025–2026)
Conversation, 2025–2026. Digital double-exposure photography, fine-art photographic print. 40 × 60 cm or 60 × 90 cm.
L’arbre et le temple, 2025–2026. Digital double-exposure photography, fine-art photographic print. 60 × 40 cm or 90 × 60 cm.
Safran, 2025–2026. Digital double-exposure photography, fine-art photographic print. 40 × 60 cm or 60 × 90 cm.
“For me, photography is not only about capturing what exists, but also about revealing what we feel, remember and imagine. I want my images to encourage people to look beyond what they immediately recognise, allowing them to experience something personal, something that cannot always be explained but can be felt.”