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About Shana R.

Baltimore City

Shana R. Goetsch's picture
Shana R. Goetsch's art frequently involves themes of social justice, empowerment, love, loss and bereavement; she began painting in 1989 after witnessing the murder of her mother. Often using words, cultural references or found objects, she injects personal voice, history and memory into her pieces. Originally from southeastern Wisconsin, Goetsch's work has appeared in numerous exhibitions nationally, and is held in private collections. She received her MFA and MA in Community Arts from the... more

Spit Fire

This work deals with base emotions, aspects of power and control, and an influx of Trickster energy being experienced through that of the Animus. Fire, antagonism, unmitigated rage, and trauma emerge through the dualities of the image and its shadow, as well as the written word.

Wheels of Vimana

The series mines what is not working, what has not been used, things that are seemingly “useless”, yet have been saved for years. The work emulates a machine, underscoring the very human ability to put things back together in terms of a life, in terms of a workable fix, in terms of healing. The pieces are becoming cogs; useful, engaging parts of the whole. Created as a centering mechanism, the mandalas became something of a conceptual response to machinism.

These particular mandalas were started during the Baltimore Uprising in 2015. I live not too far from the intersection of Pennsylvania Avenue and North Avenue where much of the action was occurring. The near constant, multi-day din of multiple helicopters overhead was the main impetus for this body of work. “Vimana”, from the Sanskrit, refers to ancient mythological flying machines; I likened them to the present day helicopter's rotors and blades.

While I am very used to hearing and seeing helicopters on the weekend nights, the events of 2015 brought a better understanding to me that it’s every day for some neighborhoods in the city. The perspective I had was ultimately about the effects of violence, and the tools I had as a person/artist to relieve these anxieties, to be able to reach for a sense of peace and wholeness where there was none. I recognized that many do not have the privilege of these same tools, or seemingly, the right to either “peace” or “quiet”.

The Psychology of One

"The Psychology of One" is a series about reflections and perceptions, as well as action and reaction. Each piece ultimately creates a symbiotic contemplation between one half and the other. This multimedia series explores the psychological constructs and material aspects of transparencies, projections, reflections, symmetry and wholeness.

  • Darkening of the Light

    transparent digital prints on vinyl "Emotion is the chief source of all-becoming conscious. There can be no transforming of darkness into light and of apathy into movement without emotion." - Carl Jung
  • Darkening of the Light

    transparent digital prints on vinyl "Emotion is the chief source of all-becoming conscious. There can be no transforming of darkness into light and of apathy into movement without emotion." - Carl Jung
  • Darkening of the Light

    transparent digital prints on vinyl "Emotion is the chief source of all-becoming conscious. There can be no transforming of darkness into light and of apathy into movement without emotion." - Carl Jung
  • Darkening of the Light

    transparent digital prints on vinyl "Emotion is the chief source of all-becoming conscious. There can be no transforming of darkness into light and of apathy into movement without emotion." - Carl Jung
  • With My Own Blood

    screen capture of repurposed video, edited by Shana R. Goetsch and Ada Pinkston "I have never worked coldly...but rather, in a certain sense, with my own blood." - Kathe Kollwitz
  • With My Own Blood

    screen capture of repurposed video, edited by Shana R. Goetsch and Ada Pinkston "I have never worked coldly...but rather, in a certain sense, with my own blood." - Kathe Kollwitz
  • Change of Pace

    installation of works

3 Tributaries

Domestic violence knows no boundaries and carries no discrimination. Row houses are the subject of my newest pieces, and part of my continued goal to fight domestic violence pictorially. Even though the row houses are seemingly silent and static buildings, they embody the “souls” of those affected by violence. They are a narrative that helps to explain the magnitude of domestic violence incidents nationally and within Baltimore City, Maryland.

  • Tributary 1

    When is a house no longer a home? In 2009, fifty three people died as a result of domestic violence in Maryland. The fifty three inked collograph plates shown here represent these individuals. Used as a metaphor for the effects of domestic violence, the process of inking inherently covers up the brightness or “life” of the plate.
  • Tributary 1

    When is a house no longer a home? In 2009, fifty three people died as a result of domestic violence in Maryland. The fifty three inked collograph plates shown here represent these individuals. Used as a metaphor for the effects of domestic violence, the process of inking inherently covers up the brightness or “life” of the plate.
  • Tributary 1 at 901 Arts

    53 Row Houses, collograph plates inked and wiped, exhibited with Better Waverly's 901 Arts youth artwork, Baltimore, Maryland. Display in conjunction with facilitated youth collograph printmaking workshops on the topic of "Safe Spaces" and an event in Better Waverly, "Community Conversation on Teen Dating Violence"
  • Tinbutary 2 (detail)

    When is a house no longer a home? Over 4,000 domestic violence cases were heard in Baltimore City Circuit Courts in 2009. I see these row house prints as the souls of those affected; a violent and fear-filled house is no longer a home.
  • Tributary 2 (detail)

    When is a house no longer a home? Over 4,000 domestic violence cases were heard in Baltimore City Circuit Courts in 2009. I see these row house prints as the souls of those affected; a violent and fear-filled house is no longer a home.
  • Tributary 2 (detail)

    When is a house no longer a home? Over 4,000 domestic violence cases were heard in Baltimore City Circuit Courts in 2009. I see these row house prints as the souls of those affected; a violent and fear-filled house is no longer a home.
  • Tributary 2 (detail)

    When is a house no longer a home? Over 4,000 domestic violence cases were heard in Baltimore City Circuit Courts in 2009. I see these row house prints as the souls of those affected; a violent and fear-filled house is no longer a home.
  • Tributary 3

    When is a house no longer a home? According to national statistics, one in four women will experience domestic violence in her lifetime. This overwhelming statistic is represented here in four large-scale collograph plates. The scale was chosen to correspond to the height of an average female or teenager.
  • Tributary 3 (detail)

    When is a house no longer a home? According to national statistics, one in four women will experience domestic violence in her lifetime. This overwhelming statistic is represented here in four large-scale collograph plates. The scale was chosen to correspond to the height of an average female or teenager.
  • Tributary 3 at Jubilee Arts

    When is a house no longer a home? According to national statistics, one in four women will experience domestic violence in her lifetime. This overwhelming statistic is represented here in four large-scale collograph plates. The scale was chosen to correspond to the height of an average female or teenager. 4 large row house plates exhibited in conjunction with House Of Ruth Maryland shelter residents' art at Jubilee Arts in Baltimore.

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