Sue Kreitzman, an 85-year-old artist, is a force to be reckoned with. Her unique art installations, often in the form of wearable neck shrines, are a testament to her creativity and individuality. Kreitzman's process is a blend of personal symbolism, cultural influences, and a deep-seated need for self-expression. Her work is a reflection of her own life experiences, filled with meaning and a sense of safety.
One of the most intriguing aspects of Kreitzman's art is her use of everyday objects and materials. She transforms simple items like beaded collars and miniature microphones into powerful symbols. For instance, the Masai beaded collar, ethically sourced from a female Kenyan designer, becomes a canvas for personal expression. Kreitzman's ability to imbue these objects with significance is what makes her work so captivating.
Her workshop, filled with drawers labeled 'teeth' and 'eyeballs', is a testament to her meticulous approach. Despite her age, Kreitzman's energy and enthusiasm are infectious. She describes herself as 'obsessive, bonkers, and extremely colourful', and her work reflects this vibrant personality. Her lack of formal training only adds to her allure, as she creates art that is both unique and deeply personal.
Kreitzman's art is not just about the final product; it's about the process. She involves others in her creations, swapping pieces with friends and incorporating gifts from other people. This collaborative aspect adds another layer of meaning to her work. The Egyptian busts, for instance, are believed to have souls and animus, reflecting Kreitzman's belief in the power of art to connect and inspire.
The Museum Shed, with its 'drama queen' sign, is a microcosm of Kreitzman's world. It houses a collection of bejewelled old-fashioned telephones, known as 'goddess phones'. These phones are a symbol of Kreitzman's belief in the mystical and the unknown. The idea of connecting to a goddess through these phones adds a layer of intrigue to her art.
Kreitzman's impact on her peers is undeniable. Artist Elizabeth Joseph, known for her miniature furniture, was instantly drawn to Kreitzman's bracelets. The connection between artists like Joseph and Kreitzman is a testament to the power of art to inspire and uplift. French artist Anne-Sophie Cochevelou, one of Kreitzman's mentees, credits Kreitzman with helping her believe in herself as an artist.
In conclusion, Sue Kreitzman's art is a celebration of individuality, creativity, and the power of self-expression. Her unique approach to art-making, combined with her vibrant personality, makes her a true original. Kreitzman's work is a reminder that art can be a force for personal transformation and a means to connect with others on a deeper level.
