To many the meaning of creativity and the nature of what artists do is a lifetime puzzle and mystery. For some artists this may seem to mean a singular pursuit and
vision while others follow a path of diversity. I suspect whatever the path the final measure is the substance and meaning of the work. I remember Kaleta as a student and watching those early probings later mature and take form in her sculpture as I encountered her works at exhibitions for the past twenty years. I particularly remember the Texas Sculpture Symposium in 1985 and encountering her singular large white steel sculpture "Cacophony of Shapes" located at the halfway point on a long glass enclosed elevated walkway. It was like a large fragment from a primordial forest leaving its imprint on my memory for many years. Then again, later in 1988, meeting that strange mud pyramid, wood and rock installation in its wooded location at the Sculpture Farm left its imprint. That same year walking through the
installation at the Hughes-Trigg Gallery at Southern Methodist University in Dallas left me thinking that changes and growth from the earlier steel works was on the horizon. Her more narrative works and varied areas of recent investigation seem to support that notion. Kaleta's sculpture was never minimal and seemed to be layered with those many elements we respect in a successful work of art. In her work on one hand is always present that sort of sound visual organization and craftsmanship that history has taught us to expect from an art work, while there is also evident that creative search for individuality and meaning that leads to content and substance.

– Bill Verhelst, sculptor