Janet Yagoda Shagam – bio

In 2002, after a nearly 35-year hiatus, art came back into my life. Printmaking has been my focus. I enjoy combining and experimenting with various kinds print media such as lithography, mokulito, copperplate etching, relief (woodcut) and collagraph.

In addition to private collections, my work has been exhibited in galleries and museums throughout the United States, Europe, Asia, the Middle East, and Africa. In 2010, I was juried into a group show at the Smithsonian Institute Ripley Gallery. In 2011, I received an Albuquerque 1% for the Arts grant to create an edition at the Tamarind Institute. Two of the resulting lithographs hang in City Multi-Generational Centers. That same year, I participated in a 2-month art residency in Venice, Italy. In addition, I have enjoyed two short-term residencies at Keystone Press - a lithography atelier located in Berlin, Germany. In 2014, I received a 1% for the Arts Grant to fund a Summer Fest temporary pop-up event. In 2015, I received an Albert Pierce Foundation grant to fund Three Wishes -- installation that documents the quiet wishes that women must put aside to overcome hardships as well asattend to the responsibilities of family, work, and the home. In 2015, I, along with two other women, received an invitation from the Harwood Art Center to participate in the 2016 exhibit schedule in celebration of the Art Center’s 25th anniversary. Summer 2016, I had the opportunity to participate in a week-long residency at Crown Point Press located in San Francisco, California.

Artist Statement

I’ll be the first to admit I enjoy process. I love the meditative aspects of grinding lithography stones as much as I do the intellectual satisfaction I get from combining and manipulating various printmaking techniques and media.

However, I also appreciate artmaking as a communicative discipline that engages and captures the attention of both the artist and the viewer.Some of my imagery provides an entranceinto quiet contemplation. Other times my art encourages dialog. It goes without saying; both innovative process and meaningful communication are two important facets of creativity and intuitive mark-making.

Much of my work involves line and pattern. Yes, simple marks, but ones that create personal spaces. When asked, viewers are often unable to find words to describe their feelings or thoughts. This is good – I have met my goal.

Another body of work is semi-realistic. Though still relying on line and pattern, my intentions are humor and quirkiness. Especially now, and in light of our political climate, we all need a few light moments.

In both cases, my inspirationsarethe marks imposed on surfaces and the patterns that evolve from the random placement of people and objects. People tell me I have a “strange eye.”

To date, I have mounted two installations. The first, “Wings of a Dove” explores death and associated rituals. The second,“Three Wishes” examines the quiet wishes women must put aside because of challenging hardships and the responsibilities associated with work, family and home. Both installations involved the participation of many people. Lots of discussion between gallery-goersand lots of return visits! As anthropological studies, both installations had unexpected outcomes. And for me, both were profound experiences