ALEXANDRA JANSSON MORENO
WORK
INFO
2024
Car tyre, epoxy, stainless steel
30 x 18 x 15 cm
A Knot in Motion is a series of sculptures that explore the human body as part of a larger material and relational network. The work draws on posthumanist thought, which challenges anthropocentric ideas that position humans as separate from, and superior to, other forms of life and matter. Instead, the series approaches existence as something shared, entangled, and continuously shaped through relations with both living and non-living entities.
In these sculptures, body parts and rubber merge into a single form. Assembled entirely from discarded car tyres, the material is transformed into something that is simultaneously bodily and unfamiliar. The distinction between organic and synthetic, human and nonhuman, subject and object begins to dissolve as the body appears to emerge from the material itself, or vice versa.
The title is borrowed from philosopher and feminist theorist Donna Haraway, who wrote that ”the world is a knot in motion" to describe existence as formed through complex, shifting entanglements. In this view, humans, materials, technologies, and ecosystems are inseparable, constantly shaping and being shaped by one another. To exist is to be entangled. Through this human–tyre hybrid, the series invites reflection on our interconnectedness with all matter, living or non-living, and on what it means to be human within a world where boundaries are never fixed, but always in motion.
A Knot in Motion was commissioned by Swedish Tyre Recycling.
2024
Multimedia installation
For the Underverket Festival at Värmeverket, artists Alexandra Jansson Moreno, Maria Pita Guerreiro and Marta Duarte da Veiga created MOTHER – a multi-sensory installation exploring the intimate and often overlooked connections between bodies, environments and microbial life, prompting visitors to reflect on their existence within a world shaped by multi-species relationships.
Moreno’s contribution focused on the microorganisms that coexist with the human body, exploring the boundary between “us” and “them” – if such a boundary even exists – and questioning whether humans truly are the self-contained, bounded beings they often believe themselves to be. Bacteria cultivated from the artist’s own skin were grown in the shapes of body parts using nutrient agar. Over the course of the festival, these living cultures developed inside a contained structure, a scaled-up petri dish of sorts. The work lived and evolved, taking on a distorted yet familiar form – like a fragmented replica of the artist – gradually becoming a body of its own.
The work set out to raise questions about what a body truly is. Rather than viewing the body as an isolated vessel, it proposed the body as a shared environment in which boundaries are increasingly blurred. Human existence is deeply intertwined with microbial communities – nonhuman companions that are not merely passengers, but vital contributors to life, even outnumbering human cells. The installation suggests that we cannot become who we are, or fully understand ourselves, without nonhuman others; to be human is actually to be more-than-human.
2023
Human hair, plastic, steel
150 x 35 x 20 cm
Suspended sculpture presented together with a text delving into the ambiguity of hair.
Graduation Show, Konstfack, 2023
In her degree project, Alexandra Jansson Moreno investigates the human body as a site of continuous change. Using speculation as a method, she explores how the human body might evolve in response to technological, medical and cultural developments. Working from a jewellery workshop rather than a scientific laboratory, the project unfolds as a “craft laboratory” in which the body is examined, altered and reimagined. Body parts are modified, extended and supplemented – internally and externally – resulting in objects that exist somewhere between jewellery, prosthesis and implant.
These objects, which the artist refers to as potential jewellery, or maybe-jewellery, are presented within an installation that adopts the form of a clinical setting. Rather than treating the body as a stable or complete entity, the installation proposes it as something inherently mutable – always adorned, adjusted and transformed. Through Metamorphosis; The Human Body in Transformation, the body is framed not as a fixed form, but as an ongoing process. The project reflects on embodiment as a state of perpetual transition, where boundaries between decoration, function and identity remain fluid, and where the body itself is understood as continually becoming something else.
18 x 12 x 6 cm
Silver, 3D printed PLA
Prototype 2-7 (eyelids)
9 x 9 x 2 cm each
18K gold, surgical thread & needle, silver, cubic zirconia, enamelled copper, plastic, silicone, latex, glass
9 x 9 x 2 cm each
18K gold, surgical thread & needle, silver, cubic zirconia, enamelled copper, plastic, silicone, latex, glass
29 x 27 x 13 cm
Copper, silver, 3D printed PLA
20 x 18 x 9 cm
Silver, 3D printed PLA, stainless steel
20 x 10 x 8 cm
Silver, silicone