Critiques & Writings on Sandra Indig’s Work

Comments and Observations

Sandra Indig’s beautiful work sparks the imagination with a vision that is unique to each person. Her website show of paintings at,, illustrate a mastery of technique ranging from rich impasto to heavenly glazes. Broad strokes of various hues offset by white portray a sense of depth and hope. In others, the use of cool pastel-like blue and green remind one of life and the changes that it brings. Additional work appear as mountainous landscapes set on a white background where each time viewed a new scene is revealed.

The paintings encompass Sandra’s life experience brought together in a magnificent compilation which are left to individual interpretation.

Jaimie Sutterlin, Associate, New York

Unbearable Witness

Impenetrable, tantalizing and mysterious are the hallmark descriptors of Sandra Indig’s paintings. Obscured images created tension in this viewer. I thought that all would be clear if only its veiled-like surfaces could be pierced. Whether a deliberate or an unconscious consequence of her art, the works’ unquestionable beauty and unearthly balance of elements , tend, over time, to metamorphize into shocking and unspeakable imagery.

For instance, six months after the 9/11 destruction of the Twin Towers in lower Manhattan , Sandra painted, “Unbearable Witness,”. a large canvas shown at an Abingdon Square exhibit in New York City. I could not help but associate Picasso’s “Guernica”, painted in 1937,after the bombing of that town, to the canvas I saw before me.

Central to the painting is the head of a gory-horned bull, as much a symbol of death as a skull. Yet when I commented on what I saw, she, unlike Picasso’s deliberate use of the image, offered that many of her archetypal forms surfaced without her conscious knowledge. The bull’s head, with its bloody horns, had emerged from the depths of her subconscious memory onto the canvas.

If not for artists like Indig, who will lift the veil from our eyes and leave us free to interpret what we see.

Herman Lowenhar, Art Collector, Scholar, New York

Painting Is Not Dead

In these convulsive times of social/political unrest, an art that speaks for itself is a rarity. Besides the flood of ideas, conceptualism and installations, painting is still the chief vehicle for the artist. Sandra Indig’s work exemplifies the surviving power of painting. Painting is not dead.

Distilling from a tradition of American and European lineage, her paintings – with their brilliant colors and energetic brushstrokes, show a very personal imagery, and a powerful use of the gesture that recalls from Willem de Kooning and Arshile Gorky to Joan Mitchell and Cy Twombly. We are in the presence of a genuine painter.

Miguel Herrera, Curator, Chile