Michelle Letarte: Building Community with Art and Science

Dr. Michelle Letarte is a Professor Emerita of the Department of Immunology at the University of Toronto. Her laboratory at The Hospital for Sick Children focused on understanding Hereditary Hemorrhagic Telangiectasia Type 1, a rare genetic disorder caused by mutations in the endoglin gene, which was discovered by her team. Alongside scientific research, she has devoted more than thirty years to artistic creation, with a focus on abstract painting. In this interview with IMMpress Magazine, Dr. Letarte reflects on her artistic journey and the creative passions that have shaped her life beyond the lab.

How did your artistic journey begin?

I didn’t take art classes or make any art throughout high school, my Bachelor’s, PhD, or post-doc. But, I have always appreciated art. Especially during my post-doctoral fellowship in Oxford, I enjoyed going to art galleries all over Europe and appreciating different art forms. Then in 1975, when I started my lab here in Toronto, I decided to spend at least one evening a week doing something different. So, I enrolled in OCADU (Ontario College of Art & Design University, then OCA) and took part-time classes for twenty-two years.

Which classes did you take in OCAD?

I took classes in ceramics, textiles and sculpture. I also attended workshops provided by different artists or by other colleges, such as the Haliburton Art School. I remember one artist in particular gave a rust imprint demonstration. It is a simple process of wrapping a rusty metal object in an old sheet, dipping it in 50% vinegar, and leaving it outside for a week to mature. This leaves a rust pattern imprint which can be used as a background for a new piece of artwork. I enjoy exploring different media and techniques – which is reminiscent of doing experiments in the lab.

How did you later transition into painting?

I didn’t start painting until 1990. My partner was a graphic designer and very good at drawing. I asked him, “Why don’t you paint?” And he replied, “I will only paint if you paint.” And I said, “Okay.” This is how I started painting – and since then, painting has been an important creative outlet for me.

With science, you must be precise and there’s not a lot of room for mistakes. One base pair difference can be a mutation, right? In contrast, art is freeing. It is an expression of oneself. You can play with different materials, textures, colours – the possibilities are endless. It is overall a very satisfying and absorbing process, during which I forget about science for a few hours.

Your exhibition themes are often based on different countries – what inspired you to paint about your travels?

I started travelling to exotic countries by getting involved with the International Union of Immunological Societies (IUIS). I chaired the Education Committee for twelve years, then served as the co-chair for another five. Our mandate was to organize immunology courses in low to middle income countries – mainly in Africa and Latin America. My colleagues and I would teach these very interactive courses and afterwards, take a vacation. That is how I ended up in Egypt, Morocco, Tunisia, Benin, Kenya, South Africa, Zambia, Colombia, Mexico and many more. During these travels, I use my cell phone to take photos. I am particularly fascinated by prehistoric caves and old walls. They tell ancient stories and show layers of history, partly in ruins and with moulds and shrubs growing on them – it is a great source of inspiration. 

What is your process of starting a painting during these travels?

When I take photos of an old wall, for example, I can see the painting with its composition, colours, and the emotions that it conveys. In the last five years, I have been doing a lot of photo transfers. After I print out my selected photos, I glue them inverted onto a board and peel off the paper pulp, which leaves behind the ink layer. This way I get the direct impression of the old wall; I then add layers of acrylic paint, pigments, and textures to create an abstract composition.

As a member of the Propeller Art Gallery, can you tell us more about it?

Propeller Art Gallery was started thirty years ago by OCADU students who had no place to exhibit. They started a co-op — meaning that the gallery operates on membership fees and is run by the members themselves with a very active board. I served as chair of the board during the pandemic, and I am currently chair of membership. We have over fifty members and in the past year, we have managed to buy our own space with federal and municipal grants along with contributions from over 250 donors.

The gallery is not only a place of exhibition but also a community. The social aspect is just as important as the artistic side. It is very fulfilling to interact with other artists and work together to organize exhibitions, artist talks, and other events.

What are your current painting projects and what advice do you have for other scientists?

I am preparing an exhibition on Antigua, Guatemala. The ancient capital is filled with old convents, cloisters, and churches dating back to the Spanish Conquest. During a recent vacation, I took 400 photos of old walls in Antigua. I am currently completing artworks based on the photo transfers of selected images.

As for advice, I would say “don’t be afraid to go outside of your comfort zone and try new ventures”. You need to have interests other than science to keep your mind rested and sharp. Sometimes, the best ideas about science come not when you are sitting at your desk but when you are out for a walk or involved in other activities.