Juan R. Garcia

I make these because I have to, and they all have a speed and immediacy that I think lends itself well to being tattoo FLASH. The intention isn't to make tattoos but to engineer an aesthetic that translates well into the permanence of ink on skin. 

I have begun exploring ideas surrounding futility and fragility, loss of place and how we rely upon structures to establish security and a sense of safety.

Video and photography give context to that which remains to be explored. 

Graph paper suggests the rigidity of architecture and the establishment of order.

These drawings are distortions of platitudes repeated in times of trauma and grief. 

"DING-DONG-DITCHED" is a new installation centered around the doorbell and its function as a mechanism of human interaction, of application and requesting permission, of acceptance or denial, judgment, and appraisal. The object is the mechanism and its chime. The subject is the viewer. 

Upon entry viewers are met with a bright light shining towards them, obfuscating the details of the space. Beyond the bright light sit 9 free-standing monuments to the doorbell and its loss of importance. Each doorbell is affixed and lit, but non-functional. Still, the viewer is tempted to press each one; an act of requesting access to nothing.

Social training...or whatever the term would be.

Among these funerary monuments stands an obelisk. It overlooks the space, watches your movements and stands as a visual reference to the door and stoops where one would stand requesting of an audience. Motion detectors light the way as audience members navigate the space; they isolate, call attention to, and serve as a beacon. 


Juan Garcia is a name that carries with it an indication of ethnicity. The name leads strangers to make conclusions about Juan Garcia's being and personhood. Juan Garcia is nothing like John Smith. Juan Garcia has never met John Smith. Juan Garcia is not convinced that John Smith even exists beyond the comparison of the commonality of the names.