Anne-Marie Creamer

Profile image of Pathway Leader, BA Fine Art Professional Diploma

Pathway Leader, BA Fine Art Professional Diploma

Central Saint Martins

Biography

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.

Research interests

Narrativity; artist moving image; inter-disciplinarity, especially linking painting and drawing; cinema and theatre; the apparatus of cinema and theatre.

Research statement

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.

Projects, awards and grants

  • Grants for the Arts, Arts Council of England, supporting Dear Friend, I can no longer hear your voice, with Animate Projects and the Sir John Soane’s Museum, London (2017).
  • ‘MOVING LANDSCAPE #2’, Puglia, Italy, public art project on Rete dei Caselli Sud Est, curated by Francesco Francesca Marconi, with Francesco Buonerba and Elisabetta Patera, including workshop on the dramaturgy of territory, commission and publication, supported by PepeNero, Progetto GAP, Fondazione con il Sud, and European Commission (2014).
  • EMERGENCY6 ‘People’s Choice’ award, Aspex Gallery (2013).       
  • European Regional Development Fund Award - New Creative Markets Programme with Space Studios
    Sogn og Fjordane Fylkeskommune, Norway, for post-production and exhibition costs of ‘The Life and Times of the Oldest Man in Sogn og Fjordane’ (2013).
  • British School at Rome, Derek Hill Scholarship (2013).

Selected research outputs