Sandy Whitby paintings are abstract alchemy

Sandy Whitby paintings are abstract alchemy,[link widoczny dla zalogowanych]
In a cluttered studio on South Flores, weak sunlight from the January morning suffusing two big windows, squats over a large canvas stirring a plastic bucket of white house paint.
Dressed in jeans,[link widoczny dla zalogowanych], a long-sleeved denim shirt and enamel-encrusted sneakers - work clothes - the 58-year-old artist, whose blond hair frames her face, studies the dark blues, grays and a touch of gold she has already committed to the work, which lies on a splattered tarp on the concrete floor. Without hesitation, she pours the white in a wide arc over the work. The movement is quick,[link widoczny dla zalogowanych], continuous, unquestioned.
"This one is at the stage where it's bad, but it's getting better," she mutters. "I just paint until it feels right to me. I love the process so much. But what I think is so wonderful about abstract art is that you,[link widoczny dla zalogowanych], the viewer, bring yourself to it."
Whitby,[link widoczny dla zalogowanych], who has several large-scale abstract paintings on exhibition through March 8 at the downtown Radius Building, in a show titled "Revisit," likes "to allow accidents to happen." She might work on a painting for a day or two, put it aside to work on another, come back to it in a week. A painting might take a few months before it "works."
"I don't know where the end is going to be, what a blank canvas will become," she explains. "The fun for me is not knowing. To balance the materials with the intent - it's almost like alchemy. But the end result is the piece has to work as a whole."
A native of Pittsburgh,[link widoczny dla zalogowanych], Pa., Whitby pursues a "smoky, gritty" look in her work, although bright blues, golds and yellows appear with some regularity - and she is awfully fond of what she refers to as "Chinese red."
"I saw the vestige of years of smoke and soot spewed from the steel mills create a dark, aged patina on many of the old buildings," she recalls. "Visual fragments of my past seem to appear in my work at a basic level. Your life experiences naturally come out when you paint what you feel."
To achieve that industrial effect, the artist builds layers of Behr and Valspar paint in works such as "Shadow" and "Fragment," sometimes incorporating metal sheeting or cloth onto a surface; she might mix roof tar ("you get this tobacco brown from tar that is so beautiful"), spackling, paper pulp or sand into her paint, which, incidentally, she buys by the gallon, often at what she calls the "oops table" at her local home improvement store.
"I do love ," she says.
An assortment of scraping tools and trowels competes for space with dozens of drippy gallon cans on a shelf that runs along the back of her SoFlo studio, with its racks of finished paintings and works-in-progress leaning against walls.
The artist proudly shows off a scrawny straw broom and a mangy mop that she uses on the occasional painting to create surface tension and texture.
Whitby, who is represented by the and has shown her work in exhibitions at the , Gallery Nord and the Institúto de México, came relatively recently to painting.
Trained in illustration and graphic design at the of Art and in Pittsburgh, she worked as a window dresser and in television,[link widoczny dla zalogowanych], including a stint on "Mister Rogers' Neighborhood," before moving to San Antonio in 1983. Whitby has worked for several local agencies, designing print and television campaigns for Valero,[link widoczny dla zalogowanych], and Shiner beer.
"I still do freelance graphic design, because I have to pay for the paint," she says.
Eleven years ago, Whitby took a painting course at what is now the with the late master abstractionist . It was a revelation.
"I kept thinking, 'Why didn't I do this years ago?' Something like endorphins happens when you paint," she says.
Whitby's work, which her mentor Mijangos called "her dreams of mystical geometry," is bold and dark and adventurous, executed with the confidence of an artist who isn't afraid to take risks. Her raw,[link widoczny dla zalogowanych], textured works draw the viewer into an artistic universe that is anything but safe, but is almost always satisfying.
"I'm drawn to Sandy's paintings because of their texture,[link widoczny dla zalogowanych], color and form," Joan Grona says. "Her tension of space, form, line and color all ring true to the process of painting."
Back in the studio on that gray morning, the artist has grabbed what looks like a grout rake - or some sort of tool used in the laying of tile floors - and attacked that thick white arc of paint, which has had a few minutes to set up, scratching deep impressions into the surface. She looks pleased.
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