Anne-Marie Creamer

Biography

Anne-Marie Creamer is the Pathway Leader BA Fine Art Professional Diploma at Central Saint Martins, UAL. She is also a founding member of new research UAL hub HEARD, for art, health and design, along with with Professors John Wynne and Alison Prendiville. She is also the co-lead for Making Better, a new social prescribing hub at CSM.

Anne-Marie is a visual artist based in London. She works with drawing, writing, and film, focussing on the entanglement of how narrative relates to place. Somewhat a conjuror of ghosts, her work develops from a tenacious attitude towards research, which she develops into highly scripted narratives featuring occluded histories. Her current work is looking at lived experience of rare diseases of spinal neuroanatomy and ill being.


In 2022 she had a solo exhibition, 'Dear Friend, I can no longer hear your voice', at the Sir John Soane Museum London, which was seen at the museum by just under 28,000 people and was reviewed in Art Monthly. 'Dear Friend...' is an immersive film with a public programme of events, that accurately reconstructs a lost space at the museum, formerly the home and workplace of Sir John Soane - the bedchamber of his wife Eliza, who died suddenly and tragically in 1815. The project was co-produced with Animate Projects. Through a combination of photogrammetry, CGI animation, sound, voice and song, the film is an imagined recreation of Eliza’s bedchamber, and a feminist reclamation of Eliza’s presence. Photogrammetry was by Arc Minute, digital animation by Edmund Brown. A soundtrack from a collaboration with composer Verity Standen used Soane’s own memoir of his grief at Eliza’s death to create a meditation on love and loss.

'Dear Friend...' marked the first time the museum has worked so closely with an artist. Using the museum archives to re-map the museum collection the project created new knowledge for the museum and the public about a room lost to the museum since 1837.

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 Koffler Centre for the Arts, Toronto, Canada; 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.