At 85, Sue Kreitzman, originally from New York, has cultivated a truly unique existence in her Mile End home, transforming it into a vibrant, immersive art installation. Every wall, table, and corridor is densely packed with her colourful pictures and sculptures, creating a living gallery that reflects her unconventional artistic journey. Kreitzman, who readily admits she 'flunked' every art class in her youth, only discovered her passion for art at the age of 58, following successful careers as a teacher, cookbook author, and TV chef.
Her artistic awakening occurred unexpectedly while reviewing cookbook proofs, when she spontaneously drew a mermaid. This pivotal moment, as she recounts, led to an obsession with drawing and a complete shift in her life's direction. Kreitzman has since created hundreds, possibly thousands, of unique pieces, including her distinctive 'neck shrines' – chunky, personalised sculptures worn around the neck. These highly individual creations often incorporate objects with personal meaning, such as those made for a recent visitor, which included miniature microphones symbolising a broadcasting career.
Maintaining such an extensive and intricate display is no small feat. Kreitzman employs a housekeeper for general upkeep and also benefits from the close collaboration of Jaime Freestone, her curator. Freestone, who initially contacted Kreitzman for mentorship, now frequently stays at the house, helping to organise and preserve displays, which include eclectic collections of ancient Egyptian busts and doll heads. Freestone describes the home as a 'second home' and a 'safe space' for individuals seeking mentorship and community, particularly within the LGBT community.
Kreitzman's creative process is deeply personal and intuitive. She describes herself as 'obsessive, bonkers and extremely colourful,' proudly stating that she works outside the mainstream and has no formal artistic training, preferring to 'make it up as I go along.' This approach stems from a childhood where her artistic inclinations were often misunderstood. She rarely sells her work, instead preferring to swap pieces with friends, and her installations are interwoven with gifts from other artists, all imbued with personal significance.
Beyond the visual spectacle, Kreitzman's home is a realm of imagination and connection. Her workshop features drawers labelled 'teeth' (real) and 'eyeballs' (not real), underscoring her playful yet intense artistic vision. In her back garden, the 'Museum Shed' houses 'goddess phones' – old-fashioned, bejewelled telephones that, according to Kreitzman, allow one to 'call a goddess' for help, connecting to something mystical. For Kreitzman, her art is more than decoration; it makes her feel safe and allows her to engage with the 'animus' and 'soul' she perceives in her collected objects.