Anne-Marie Creamer is a British artist based in London whose work experiments with cinematic and THEATRICAL forms using digital film, fiction, drawing, WRITTEN films, filmed staged scenarios, and live voice-over. For Anne-Marie narrative is complexly entangled in place - always underpinned by her interest in the relationship between REPRESENTATION and presence. Her work develops from a tenacious attitude towards research, which coupled with chance, she develops into highly scripted narratives featuring occluded histories that are melancholic but wry, corporeal, often intense.
Anne-Marie's work will feature in a forthcoming solo exhibition at the new Foyle Project space, at the Sir John Soane's Museum, London in 2018. Her work has been regularly exhibited internationally at galleries and museums such as: Sogn og Fjordane Kunstmuseum (Norway), Palm Springs Art Museum, Kunstvereniging Diepenheim (The Netherlands), The Sir John Soane’s Museum (London), Apex Art (New York), Communication Space Školská 28, (Prague, Czech Republic), Sagacho bis (Tokyo), Galerie der Künstler (Munich), and Spacex Gallery (Exeter). Publications that feature her work include The Drawing Book, edited by Tania Kovats (Black Dog Publishing, 2006). She received the Derek Hill Scholarship in Drawing at British School at Rome, 2012. She has done several residencies and collaborative projects in Soviet Union, Czech Republic, and Romania, including an International Artist in Residence award with the Centre for Contemporary Art Prague (2004-5). During the 1990's she one of a number of a group of artists responsible for the London based artist-run Cubitt Gallery. Anne-Marie still occasionally curates exhibitions and projects, most recently in Norway, with Lars Sture & Kjetil Berge for the Sogn og Fjordane Kunstmuseum in western Norway. She was educated at Middlesex University & the Royal College of Art and lives in London, where she is a Lecturer on the MFA course at Wimbledon College of Art, University of the Arts, London.
"Over the years I have come to prefer the title 'storyteller', I like the possibility that narrating grounds human life in what is specific to it. Early on, though, I left painting. I wanted to break open the edge of a painting, to enter it, and extending its narrative space outwards I made works which take cinematic form through video, drawing, literary texts, filmed staged scenarios, and recently live voice-over - together proposing a form of theoretical fiction that dramatises the boundary between representation and presence.
For me narrative is always complexly entangled in place. And I reach for this through a tenacious attitude towards research, burrowing with enough intensity into occluded histories I aim to then surrender to chance. This results in highly scripted narratives, featuring a muscular use of sound, which are melancholic but wry, corporeal, often intense. Increasingly, as in a mise en abyme, each work is nested within another as subject-matter undergoes adaption and translation. But BEWARE - even as my projects migrate across mediums and formats I lay claim to the gifts of building work around the event of a haunting; albeit that my work is also carefully constructed around the lingering phantoms of lost artefacts and adrift protagonists, which act as tools or transmitters of failed historical projects.
Recent projects include ‘Treatment for Six Characters’, made with the support of the British School at Rome and Teatro Valle, which is based on an unrealized film Italian writer Luigi Pirandello’s wished to make about a fictionalized, ethically ambivalent, portrayal of the creative process leading to his seminal 1921 play ‘Six Characters in Search of an Author’ – using a recently discovered text I adapted Pirandello’s plans making a film that explores the imaginative possibilities of his absent film. “The Passing of the Keepers of Salento” (2015), made with organizations Progetto GAP and PepeNero (Italy) as part of the ‘Moving Landscape project’, documents and dramatizes a filmed declaration with the the train Keepers of Puglia about the moment their role fell into obsolescence in 2014. Most recently, I have been working on “Dear Anne-Marie, The Last Keeper" and "Fictional Introduction" (2016), both staged scenarios in which fictional characters invade public events.
Currently, I am working towards two solo exhibitions for 2018. One, at the Foyle Project space, the Sir John Soane's Museum, London, Dear Eliza, the Mourning Room, will develop an animation and sculpture on the subject of the lost bedchamber of Eliza Soane within the museum. It will be produced by Gary Thomas, (co-Director Animate Projects/ British Council) and will made with the support of a team of architectural visualisers, featuring also a collaboration with a composer. The second is a commission from the Borough Road gallery, London, in partnership with London South Bank University, and others, developing three time-based works from the Tate's David Bomberg archives, as well as audio recordings about Bomberg at the British Library."
Radio Interview with Brainard Carey, Yale Radio series on Artists, curators and more, February 2016
Below is a link to a interview with Brainard Carey for Yale Radio, for his series on interviews with Artists, Curators and more. "Lives of the most Excellent Artists, Architects, Curators, Critics, Theorists and more, like Vasari's book updated. (Interviews with artists and others about practice and lifestyle from Yale University radio WYBCX)". A link to the series can be reached here.
A link to Brainard Carey's Yale Radio series on iTunes can be reached here: http://tinyurl.com/how75jd