Anne-Marie Creamer

Biography

Anne-Marie Creamer is a Senior Lecturer for the Art Programme at Central Saint Martins (CSM). Her practice spans film, experimental animation, drawing, and writing, rooted in what she calls ethical custodianship: a responsibility to voices and presences that risk disappearing.

Her 2022 solo exhibition ‘Dear Friend, I Can No Longer Hear Your Voice’ (Animate Projects, Sir John Soane’s Museum, London) has since travelled to the Koffler Centre for the Arts, Toronto. 'Dear Friend...' reconstructed Eliza Soane’s lost bed-chamber, blending CGI animation, photogrammetry, sound, voice, and song to reclaim Eliza’s presence. Co-produced with Animate Projects. The project also included events on death, grief, and creative approaches to memorialising (moderated by Melanie Keen, the Director of the Wellcome Collection) and artists' strategies in working with historical figures and archives (with Michelle Williams-Gammaker). The exhibition drew nearly 28,000 visitors (more online due to Covid restrictions), was reviewed in Art Monthly and other UK press, and deepened public understanding of a well-loved museum as a site of personal grief and loss.

At Central Saint Martins, UAL, she co-leads and co-founded two research initiatives: 'Better Making', CSM's art school-based creative social prescribing hub; and 'IRL: In Real Life, Lived Experience Lab', a cross-UAL research collective that positions lived experience - especially that shaped by illness - as an epistemological resource, not merely testimony.

As a patient with lived experience of primary bone tumours and rare disease, she brings this directly into research design, serving as a lay expert on PPI panels including the Bone Cancer Trust’s PPIP board, contributing to how patient knowledge is structured within clinical research frameworks. In 2026 she completed the EU Horizon project hosted training with EURODIS Open Academy SITR + ERDERA programme in Barcelona — gaining certified training in patient-centred research and rare disease frameworks, bioethics, and the capacity to contribute meaningfully to PPIE within clinical and life sciences contexts.

She does not treat her work as an artist, educator, researcher and patient as separate roles. For her they form one integrated, hyphenated practice, developed over thirty years. She calls the methodology beneath it "interstitial epistemology". Taking its cue from the small spaces the hyphens open between words, as in artist-researcher-patient, it attends to knowledge that emerges from dwelling between: between disciplines, between institutions, and between the body that undergoes illness and the mind that reflects on it.


Her chapter "Bittersweet Longing: The Impossible Return", in Home, Place and Belonging Through Arts-Based Research(Routledge, 2026), proposes "temporal dwelling" as a methodology for arts-based research. Drawing on Tim Ingold's lines, meshworks and dwelling, and on four of Creamer's own projects responding to loss, absence and institutional memory, it argues that artistic practice can model more fragile, open-ended forms of belonging in a time of ecological and social precarity.

Her latest project (in research and development), the 'Ghost-Bodies' series. Ghost Bodies I: draws, text, and moving image to explore neurological damage and numbness as an epistemological event; what it means for a body to become unavailable to itself. Ghost Bodies II: the hospitalised body as memory theatre, drawn from her own situated hospital archive. Ghost Bodies III: focuses on a different kind of emerging ghostbody; growing from on-going conversations with scientists and clinicians whose biomedical research into diseases like Creamer's relies on human array systems, organoids, organs-on-chips, tissue arrays, that disaggregate the body into research components.

Creamer studied at Middlesex University and the Royal College of Art. Her early career included impactful roles in London's 1990s artist-led scene and contributions to international galleries and publications. Her accolades include the Derek Hill Scholarship in Drawing at the British School at Rome and residencies and exhibitions at prominent arts institutions worldwide.