A photographic narrative about flesh, care, and the relationships between a musher, his dogs, and the northern landscape
In Swedish Lapland, moose hunting is not merely an act of predation, but a practice of survival.
For a family of mushers and their eleven sled dogs, meat is at once nourishment, labor, and social bond.
Through twenty photographs, Bodies in Transit tells the material and symbolic cycle of moose meat — from the daily gesture of preparation to its final dissolution into the snowy landscape.
The project observes how the boundary between human and non-human blurs through physical contact, shared breath, and traces left in the snow: a movement that, in its passage, implicates us directly in the ethical and moral discourse surrounding this practice.
I. Hands in the Flesh – The Matter of Living
Flesh is living matter: cutting, kneading, mixing.
Nourishment is born from fatigue and from the repetition of daily gestures.
It is a labor of the body, made of steam, fat, and warmth.
II. We Have Never Been Flesh – The Matter That Moves Bodies
Meat becomes energy, rhythm, and shared survival.
In the everyday work of the musher and his dogs, nourishment is part of the sporting gesture — it prepares, sustains, and consumes.
In these intimate fragments — between the house and the trail — physical strength and care merge until they become the same thing.
III. A Practice of Many Shades – The Networks and Ambiguities of Flesh
Among hunters, meat is exchange, belonging, gift, power, and memory.
On pallets, in trailers, in boxes or plastic bags, it passes from hand to hand — accumulated, weighed, preserved.
The dog licking the plastic sheet left to dry marks the threshold between morality and necessity.
Meat circulates through the social network and reveals its ambiguity.
IV. Narratives of the Non-Human – The Dogs’ Landscape
Along the groomed racing tracks, the dogs draw their landscape each day.
The traces of the snowmobile and the paw prints — domestic and wild — inscribed in the snow tell of an alliance made of bodies, gestures, rhythm, and survival.
Here, flesh has turned into movement — energy flowing between human and animal, within the breath of the land.
Bodies in Transit is a story of material transformations:
flesh as living matter, snow as an archive of gestures,
dogs as mediators between human labor and the natural landscape.
It is a reflection on the continuity between bodies, on systems of sustenance, and on the forms of interdependence that define life in the territories of cold.
