A.I.R. Gallery is pleased to announce Celebrating Kindred Spirits and Strange
Bed Fellows, an exhibition by A.I.R.’s national and international members, curated by Catherine J. Morris. Artists in the exhibition include: Kate Ali, Judy Cooper, Leigh Craven, Phyllis Ewen, Melissa Furness, Ann Ginsburgh Hofkin, Terry Gips, Nicole Jacquard, Jan Johnson, Julia Kim Smith, K. A. Letts, Gladys Tietz Mercier, Haley Morris-Cafiero, Nancy Morrow, Esther Naor, Ardine Nelson, Meghan Quinn, Belle Shafir, Marie Sivak, and Erin Wiersma.
This exhibition brings together twenty different artists, all of whom create work within the enduring feminist concept: the personal is political, and with Catherine J. Morris’ curatorial eye, each artist is represented as an individual. As A.I.R. Gallery enters its 40th Anniversary year, it is apparent to the observer that the women showing in this exhibition carry on the priorities that have been part of A.I.R.’s mission since it’s inception in 1972. As Morris writes in the accompanying catalogue, the artists “speak to the fluid strength of the methodological framework offered by feminism.”
As we get ready to exhibit these wonderful artists, we will be interviewing some of these women to get a clear insight into their own unique artistic visions.
This interview is with A.I.R. National Artist K.A. Letts.
1) Where do you get your intricate ideas for your paintings?
I usually start from a simple premise, as in the “Here comes the Sun” series, with a shape that I repeat and develop. The picture takes on a life of its own and pretty much tells me what it wants and I struggle to comply. (The picture shown to the left is for reference to this).
2) What inspired your series, "A Hundred Days A Hundred Drawings"?
My Chicago artist friend Jeff Stevenson was engaged in a similar project and asked if anyone cared to join in. I think I was the only one of his friends foolish enough to respond! I found the series was very helpful in developing new ideas for future works; it really gave me some momentum. Mostly I don’t think artists (including myself ) draw enough—this was a way of making myself produce.
I fear color because it is so emotional, but I find it exciting too. I’m not sure where my color choices come from—they are entirely intuitive. I know this isn’t too helpful as an explanation—sorry!
It must have been easier for artists when there were fewer colors to choose from since they had to grind the pigments, or when art patrons specified which colors could be used as they did in the Middle Ages (i.e. Virgin Mary gets lapis, and 2 oz of gold leaf on the angels!) 
I’m a big fan of painters of the early 20th century, esp. Braque, Miro, Klee. I think it’s pretty easy to see their influence in my work.
5) Is there a new series you are currently working on?
I’m working on a series called Singularity—in it I explore a world beyond the event horizon of the Singularity, when human biology and artificial intelligence converge. I’m inserting a couple of images to illustrate.
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