François Brunelle’s Doppelgänger Project: A Study of Striking Similarities
In the late 1960s, a teenage François Brunelle received a Praktika camera from his parents—a modest gift that would spark a lifelong passion. Born in Sherbrooke, Quebec, Brunelle was a curious and creative young man, fascinated by the human face and its unique ability to convey emotion, character, and personality. This early fascination with portraiture became a formative influence on his artistic journey. Yet, life’s demands led him to more practical ventures, including commercial photography for graphic design, advertising, and theatrical productions. These roles refined his technical skill, but his artistic curiosity simmered in the background, waiting for the right moment to resurface.
In 2000, Brunelle rekindled his passion for portraiture in a unique and personal way. Drawing from his fascination with human resemblance, he began a project that would span over a decade: I’m Not a Look-Alike! His goal was ambitious: to find and photograph 200 pairs of unrelated individuals who bore an uncanny resemblance to one another.
The Concept: Why Doppelgängers?
The idea of doppelgängers—people who look strikingly alike despite having no familial connection—has intrigued humanity for centuries. From folklore, where doppelgängers were seen as omens or supernatural beings, to modern genetics, which examines the science behind shared traits, the phenomenon resonates on multiple levels. For Brunelle, the allure was both artistic and philosophical. How could two strangers, often separated by thousands of miles and entirely different lives, end up looking like twins? What could these resemblances reveal about identity, perception, and the shared structure of the human form?
Brunelle’s project aimed not only to document these physical similarities but also to provoke a deeper conversation. What do we see when we look at someone who looks like us? Do we perceive them as familiar or alien? And what does it mean to encounter your double in a world where individuality is so prized?
The Search: A Global Treasure Hunt
Locating doppelgängers proved to be one of the most challenging aspects of the project. Brunelle began by putting out public calls for participants, inviting people to submit photographs and basic information about themselves. The submissions poured in, but the process of finding true matches required an extraordinary level of patience and discernment. Brunelle would sift through countless images, searching for pairs whose resemblance was undeniable.
One of the project’s greatest logistical hurdles was geography. Many of the doppelgängers lived far apart, sometimes in different countries or even on different continents. Coordinating travel and studio time for these participants was no small task, especially since Brunelle often funded the project out of his own pocket. Additionally, there was always the risk that a submitted photograph might be misleading. A person’s features can appear different depending on lighting, angles, and even facial expressions. Brunelle had to be meticulous, ensuring that each match was worth the effort of bringing them together in person.
Beyond logistics, there was also the human element to consider. Not everyone was comfortable with the idea of meeting a stranger who looked like them, let alone posing side by side for a professional portrait. Some participants were hesitant, unsure of what the experience might entail. Brunelle often had to act as both photographer and mediator, creating an environment where his subjects felt at ease.
The Studio Experience: Crafting the Illusion of Twins
When Brunelle successfully paired doppelgängers and brought them to his studio, the transformation began. To enhance their similarities, he carefully curated their appearances. Participants were often dressed in identical or complementary clothing and adorned with similar jewellery or accessories. Hairstyles were adjusted to match as closely as possible.
The setting of the studio played a crucial role. Brunelle chose monochrome photography to eliminate distractions and unify the aesthetic. By removing colour, he directed the viewer’s attention to the shape, structure, and texture of his subjects’ faces. In this stark black-and-white format, the similarities between the doppelgängers became even more striking. The portraits revealed not just physical resemblances but also subtle shared expressions and gestures—moments that made them seem uncannily like siblings or even twins.
The final images are both unsettling and mesmerising. In some cases, the similarities are so pronounced that it’s hard to believe the subjects are not related. In others, the differences are subtle enough to highlight how the human brain interprets likeness. Either way, the portraits challenge our understanding of identity and individuality.
A Long Journey: Twelve Years of Dedication
Brunelle’s goal of capturing 200 doppelgänger pairs took 12 years to accomplish, a testament to his perseverance and passion for the project. Working on I’m Not a Look-Alike! alongside his other professional commitments, Brunelle faced numerous obstacles, from the practical challenges of finding participants to the financial strain of travelling and setting up shoots. Yet he remained steadfast, driven by the power of his idea.
Over the course of the project, Brunelle photographed people from diverse backgrounds, regions, and cultures. Some pairs lived in the same city but had never met; others were separated by oceans and had entirely different lives. Remarkably, the project also uncovered instances of cross-gender doppelgängers, where men and women shared strikingly similar facial structures. These portraits were particularly intriguing, as they challenged conventional ideas about gendered appearance.
The Impact: Art Meets Anthropology
Since its completion, I’m Not a Look-Alike! has garnered international attention, with exhibitions in galleries and museums worldwide. The project has also become a popular subject online, where Brunelle’s photographs spark endless debates and reflections. People marvel at the uncanny resemblances, share stories of encountering their own look-alikes, and speculate on the genetic or environmental factors that might explain such similarities.
Brunelle’s work occupies a unique space at the intersection of art and anthropology. His photographs are aesthetically compelling, but they also serve as a visual exploration of human connection and the mysteries of biology. By capturing these doppelgängers, Brunelle invites us to question what makes us unique and how we perceive ourselves in relation to others.
Reflections on Identity and Individuality
At its heart, I’m Not a Look-Alike! is about more than just resemblance. It’s a meditation on identity—on the ways we define ourselves and the ways we are defined by others. Brunelle’s doppelgängers remind us that, beneath the surface, we are all more connected than we realise. In a world that often emphasises difference, his project celebrates the beauty of similarity, offering a poignant reminder of our shared humanity.
For François Brunelle, the journey from a teenager with a Praktika camera to an internationally recognised artist has been one of exploration and discovery. Through his portraits, he has not only documented an extraordinary phenomenon but also opened a window into the deeper questions of what it means to see—and be seen—in a world of infinite faces.
留言