Pathway Leader, BA Fine Art Professional Diploma
Central Saint Martins
Central Saint Martins
Anne-Marie Creamer is a visual artist based in London. Her work experiments with cinematic and theatrical forms, often linking theatre, painting and cinema.
Creamer studied at Middlesex University and the Royal College of Art. In the 1990s she was part of the group of artists responsible for the artist-led Cubitt Gallery, and she has also worked as a curator and talks programmer, including roles at Delfina Studios Trust and Parasol Unit. Commissions include work for Progetto GAP (Italy), exhibited at the Italian Association of Architecture and Criticism, Rome, and Il Museo Ferroviario della Puglia, Italy, (2015), and for Sogn og Fjordane Kunstmuseum, Norway (2014).
Creamer’s work is regularly shown internationally at galleries and museums, including FRAC Bretagne, France; Kunstvereniging Diepenheim, Netherlands; Kunstnernes Hus, Oslo; Palm Springs Art Museum; Aspex Arts, Portsmouth; Exeter Phoenix Galley, Exeter; the Royal College of Art and The Drawing Room Gallery, London. Publications featuring her work include The Lost Diagrams of Walter Benjamin (MA Bibliotheque 2017); Armel Beaufils, le Regard des femmes (Editions FRAC Bretagne, France, 2017), and Drawing Book: A Survey of Drawing - The Primary Means of Expression (Black Dog Publishing, 2006). She received the Derek Hill Scholarship in Drawing in 2012, and residencies include the Center for Contemporary Arts, Prague, and The British School at Rome.
Narrativity; artist moving image; inter-disciplinarity, especially linking painting and drawing; cinema and theatre; the apparatus of cinema and theatre.
I am interested in theory and practice which explores the links between theatre, painting and cinema. My work experiments with cinematic and theatrical forms using digital film, fiction, drawing, theatre, written films, filmed staged scenarios, live voice-over, performative lectures or readings, and scripted tours; together proposing a form of theoretical fiction that dramatises the boundary between representation and presence.
For me narrative is complexly entangled in place and my work often develops from a tenacious attitude towards research, which coupled with chance, I develop into highly scripted narratives featuring occluded histories that are melancholic but wry, corporeal, often intense.
Creamer, Anne-Marie and Kivland, Sharon (2017) Armel Beaufils, le Regard des femmes. [Show/Exhibition]
Creamer, Anne-Marie (2016) 'Emma Talbot: Step Inside Love’, Domo Baal Gallery, London, 24 April–6 June 2015. Journal of Contemporary Painting, 2 (2). pp. 301-334. ISSN 2052-6695
Creamer, Anne-Marie (2015) The Dilemmas of Adaptation: Making Treatment for Six Characters. Pirandello Studies, 35. pp. 106-115. ISSN 1471-9363
Creamer, Anne-Marie (2015) The Passing of the Keepers of Salento: a memorial to obsolescence. In: Moving Landscape. Progetto GAP, Italy.
Creamer, Anne-Marie and Sullivan, Lesley G. (2015) Pirandello’s Unrealized Film, Treatment for Six Characters: An Interview with Film Director and Artist Anne-Marie Creamer. Pirandello Society Annual journal (PSA), XXVII. pp. 101-115. ISSN 1042-4823
Creamer, Anne-Marie (2013) Meeting the Pied Piper in Brasov. [Show/Exhibition]
Sture, Lars and Creamer, Anne-Marie and Berge, Kjetil (2012) Kome til deg i Tidende – a meta newspaper. [Art/Design Item]