“Rendre visible ce qui nous met en mouvement” — to render visible what moves us — is the invisible thread running through Laura Mommicchi’s work.

Born in Nice, France, Laura is a photographer and visual artist whose practice explores the relationships between body, movement and perception. Working at the intersection of photography and staged imagery, she develops immersive projects centered on the body in interaction with water.

Working primarily underwater and in breath-hold, she creates images in which physical constraints become an integral part of the creative process. Water is not merely a setting but a medium in its own right, transforming perception and shaping the image itself.

Her gaze seeks to reveal moments of transition and presence—those subtle states that emerge beyond performance or spectacle. Through images that oscillate between reality and dreamlike suspension, she investigates themes of transformation, immersion and the shifting boundaries of perception.

Laura has served as the official photographer for several international freediving competitions, including the AIDA World Championships and CMAS World Cup events. Her work has been featured in publications such as The Red Bulletin, Molchanovs Freediving, and El Comercio, and has received nominations in fine art photography competitions.

Alongside her artistic practice, she develops cultural projects and collaborates with artists on the conception of exhibitions and publications.

Through her work, Laura invites viewers into spaces where images are not simply observed, but experienced—where movement becomes presence, and perception opens onto new realities.

Laura MOMMICCHI

Artistic Approach

I develop a photographic practice rooted in immersion, created in breath-hold, in direct contact with water.
This medium lies at the core of my work—not simply as a setting, but as a space of physical and perceptual experience.

Water shifts reference points: bodies, light, orientation. It slows, constrains, supports, resists.
In immersion, time alters, breath becomes central, and attention is displaced. This condition shapes my way of photographing, engaging the body as much as the gaze.

My images begin with prior preparation, often through drawing, where forms, gestures, and compositions take shape.
This stage allows me to anticipate the constraints of water—visibility, buoyancy, light—and to maintain precision in the act of photographing.

I work with models within immersive situations.
Beyond staging, this becomes a shared experience in which the body adapts, yields, or enters into tension with its environment. Postures, movements, and physical states form a visual language.

Water acts as a revealer. It alters forms, unsettles perception, and transforms the relation to space.
What emerges is never fully stable nor entirely controllable. The image takes shape within this balance between intention and unpredictability.

Through this practice, I seek to create images that move beyond representation toward experience.
Immersion becomes a way of accessing another quality of presence—more sensitive, more interior—where body and image transform together.