Juan Alberto Franco Ricardo

Washington, DC

Juan Alberto Franco Ricardo is a visual and performing artist, curator, and community organizer. They have a proven track record in collaborating with cultural and governmental institutions to produce artist-centric programs and initiatives. In doing so, they collaborate with artists to create dialogue and material change in collaboration with diverse communities. 

Born in Bogotá and currently based in Washington, DC, they ground artistic practice, curating, and arts organizing as methods to create solidarity within and across diverse communities. As an organizer, Juan Co-Founded and Co-Directed festival:festival, a visual and performing arts festival in Seattle. festival:festival presents and supports artists and cultural workers in Seattle through free public programs, financial equity, and community sustainability. As an artist, Juan constructs image-based works with the aid of film and digital cameras, flatbed scanners, and found imagery while exploring the metaphors and histories of the chemical and digital process. 

Juan holds an MA in Art History from the University of Washington and a BFA in Art from Cornish College of the Arts.

Artist Statement
In a contemporary context of professionalization, I dedicate my labor energies to the maintenance and production of cultural concepts and objects in relationship to an artistic practice. I rely on a sequence of image/action/text-based processes that create, distort, and manipulate images from one context to another; from one dimension to another. The content of the work is derived from the intersection of theory and personal experience with the erotic, the queer, and the racial. This process can produce traditional art-objects that exists as cultural products to be exhibited and/or bought for educational and/or commercial purposes.

Through the use of archival social networks, I also share and publish the process and the work. In a post-internet context, I value the original substrate equally to any of its derivatives (cultural, commercial, analog, or digital) as I continue to (de)construct imagery from a (non)personal, recyclable archive. 

I simply frame what already exists, what others choose to disregard consciously or coercively. As I continue to distill labor into cultural concepts and objects, I do not seek novelty. I am interested in finding methods in which to deconstruct ever-present historical structures that damage my existence in order to reject their legacy