From the series El ruido animal (The animal noise), a project without museum. Sculpture, assault rifles, concrete, and debris. Tegucigalpa, Honduras..
From the series El ruido animal, a project without museum. Installation, framed gunshot marks on a concrete wall. Tegucigalpa, Honduras.
When social routine emerges as an accumulation of precarious details, we find ourselves compelled to reinvent the concepts of landscape, bird, refuge, and identity, and to propose journeys that help us find answers.
From the series La cosecha (The Harvest), Sculpture, bullets and McDonald's fry box.
From the series The Harvest. Nike soccer cleat, modified sole, and rifle bullets.
A society stuck in an old design: capable of moving forward, yet unable to transform the structures that sustain its movement. Ammunition replaces the studs of an aging soccer cleat, turning violence into a condition for traction. Movement continues; the model remains.
Territorial areas of Central American countries stenciled on a wall with layers of human blood.
Site-specific installation, Farabundo Martí Room (Former Political Prison) and Room No. 02, Museum of Santa Tecla, El Salvador.
The project, conceived as a regional essay or report, seeks to address phenomena inherent to the Central American region through visual and dialectical means.
Installation with found bullets deformed by impact.
The project can be read as a kind of dispersed memory or wounded territory: there is no unified figure, but rather fragments that persist in forming something recognizable. With an almost cartographic presence, the deformed bullets construct an image that seems to exist somewhere between a map, a constellation, and a fragmented territory.
Installation, animal bones and balloons.
From the series El ruido animal. The project reflects on temporality, change, and the search for utopias such as freedom and truth.
From the series Unstable and Mortal. In the words of Enrique Dussel: “Until we free ourselves from that violence and move toward a rational humanity, we cannot be free.”
Sculptural installation, block of ice with flies.
«Somos esa imágen que soñamos.» Octavio Paz
Alejandra Mejía Romero is a Honduran visual artist whose practice spans installation, photography, digital assemblages, public intervention, and socially engaged projects. Her work examines violence, identity, systems of power, ecological precarity, media culture, and the persistence of life within hostile social and political conditions.
Often developed through serial forms and politically charged visual landscapes, her projects bring together poetic imagery, urban materials, popular culture, and documentary impulses to question how reality is mediated, consumed, and remembered. Mejía Romero earned a Bachelor’s degree in Art from the National Taiwan University of Arts, Taiwan, following a specialization in Graphic Arts at the National School of Fine Arts of Honduras.
Selected exhibitions include El Ruido Animal (The Animal Noise), a museum-less project in Tegucigalpa, Honduras (2012–2014); La Nube Roja (The Red Cloud) at the Museum of Santa Tecla (MUTE), El Salvador (2012); and Fauna, presented at Mujeres en las Artes in Tegucigalpa (2010) and later at MUTE (2011).
Her work has also appeared in Ultramar: Latin American Video Art at the Museum of Contemporary Art in Rio de Janeiro and the National Hispanic Cultural Center in Albuquerque; the 1st Latin American Video Art Series at the Institut Valencià d’Art Modern in Spain; the Biennial of the South: Peoples in Resistance at the Jesús Soto Museum of Modern Art, Venezuela; Somos Compost at the Museum of Contemporary Art in San José, Costa Rica; and Cartographies of Belonging at the Zhou B Art Center in Chicago.
elruidoanimal@gmail.com