I do not see myself as I look at you (animation)
       
     
By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016
       
     
By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016
       
     
By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016
       
     
Fictional Introduction for Treatment for Six Characters, with Jordan McKenzie
       
     
Establishing shot: Pen In Hand Deeply Immersed in Thought as Imperiously, Powerfully, they line up at your back
       
     
Fictional Introduction, cover
       
     
FICTIONAL INTRODUCTION, extract
       
     
Fictional Introduction, extract
       
     
Written Cinema - detail from, 'The Passing of the Keepers of Salento, screenplay/paper cinema
       
     
''Meeting the Pied Piper in Brasov, a paper prologue"
       
     
Written Cinema - The Passing of the Keepers of Salento, paper cinema
       
     
Written Cinema - detail from, 'The Passing of the Keepers of Salento, screenplay/paper cinema
       
     
Prologue 1 : Meeting the Pied Piper in Brasov
       
     
(Sequel 1: TOMIS), The Tragedy of a Character, live voice over @ Five Years Gallery, London, 2014
       
     
(Sequel 1: TOMIS), The Tragedy of a Character, live voice over @ Five Years Gallery, London, 2014
       
     
(Sequel 1&2: TOMIS), The Tragedy of a Character, live voice over - script extract
       
     
Sleepwalker
       
     
The Prompter of Krumlov photo-novel
       
     
Movie titles
       
     
The Defence Ein Lichtspiel 1
       
     
The Defence Ein Lichtspiel 8
       
     
I do not see myself as I look at you (animation)
       
     
I do not see myself as I look at you (animation)

This section presents works which ponder, create, perform and transform “cinema”, using the tools, materials, technologies, and techniques that either modify or are entirely different from a standard film apparatus.  Several of Anne-Marie's projects could be framed within this section but here focus is concentrated on those which use performance, scripts, 'live voice-over', still-plays, or still(ed) imagery.

 

This work will shortly be exhibited in a group exhibition at FRAC Bretagne, France, curated by Sharon Kivland, ARMEL BEAUFILS : LE REGARD DES FEMMES, Galerie du presbytère, Saint-Briac sur Mer 1 July to 3 September.  July 1st - September 17 2017,

This exhibition ARMEL BEAUFILS : LE REGARD DES FEMMES frames an invitation to 40 female artists to respond to the work of early 20th-century sculptor Armel Beautfils, who was known for his observed study of the female form. Each artist was asked to make a two-dimensional image in response (indeed, correspondence) with a work, often a plaster model by the sculptor. I was presented with the work, Jeune Femme penchée vers l’avant, bras pendant, and made this image and text work, which I suggested was really an animation of sorts.

 

By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016
       
     
By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016

The image was from By Way of an Introduction, a performative lecture about Anne-Marie's work that uses moving image, sound effects, and a series of inter-locking narratives that experiment with time to present  a selection of her work to an invited audience at Curators Vacation, a mini summit of curators from Norway and Scandinavia that took place on the island of Hersvik, Solund Islands, western Norway in July 2016. 

By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016
       
     
By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016

Still from By Way of an Introduction, performative lecture, July 2016

By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016
       
     
By Way of an Introduction, a performative lecture given during Curators Vacation, Skule HERSVIK, Solund Islands, Norway, July 2016

Still from By Way of an Introduction, performative lecture, July 2016

Fictional Introduction for Treatment for Six Characters, with Jordan McKenzie
       
     
Fictional Introduction for Treatment for Six Characters, with Jordan McKenzie

Image above, 'Fictional Introduction' for 'Treatment for Six Characters':

As part of Flac Group's three month art-takeover of venue The Exhibit, London, 20 artists were challenged to respond to the local area with artworks that "react, build up or deteriorate" over the three month period between January - March 2016.  On February 14th Anne-Marie presented "Fictional Introduction", as well as a screening of Treatment for Six Characters.  "Fictional Introduction" re-works an introduction Anne-Marie gave ahead of 'Treatment' at The Drawing Room Gallery/ The Tannery London, but here the introduction has been turned into a script, in this first version enacted by British performance artist Jordan McKenzie.  McKenzie presented himself as being Anne-Marie, reciting her words about the evolution of the work. The event is intended as a meta-prologue to her film and drawing on both her own and Luigi Pirandello's ideas seeks to heighten the line between author-actor-character.

Anne-Marie is currently developing a further iterations of this work with a team of actors - a 'swarm of Anne-Marie's' -  all competitively, absurdly insisting they are the author of Treatment for Six Characters.

There is also an booklet featuring the script for 'Fictional Introduction', which currently exists in versions for one, six or ten voices. 

Establishing shot: Pen In Hand Deeply Immersed in Thought as Imperiously, Powerfully, they line up at your back
       
     
Establishing shot: Pen In Hand Deeply Immersed in Thought as Imperiously, Powerfully, they line up at your back

Text based drawing, acrylic on paper.

84.1 X 59.4 cm

2016

This is text based drawing is based on an extract from Italian playwright Luigi Pirandello's 1936 prose text Treatment for Six Characters.  The text depicts the scene of the final moment Pirandello's Author completes his creative work, Treatment for Six Charactersthe same work Anne-Marie has based her film of the same name on.  

The drawing also serves as a connecting work and an 'establishing shot' for the staging of related works Treatment for Six Characters and Fictional Introduction

Fictional Introduction, cover
       
     
Fictional Introduction, cover

 "Fictional Introduction" booklet containing the script for the work.  There are several versions written for between 1 - 10 voices.

 

limited edition booklet

edition of 50, + 2 AP

24 page colour booklet

2016

 

 

 

FICTIONAL INTRODUCTION, extract
       
     
FICTIONAL INTRODUCTION, extract

 "Fictional Introduction" booklet containing the script for the work.  There are several versions written for between 1 - 10 voices.

 

limited edition booklet

edition of 50, + 2 AP

24 page colour booklet

2016

Fictional Introduction, extract
       
     
Fictional Introduction, extract

 "Fictional Introduction" booklet containing the script for the work.  There are several versions written for between 1 - 10 voices.

 

limited edition booklet

edition of 50, + 2 AP

24 page colour booklet

2016

Written Cinema - detail from, 'The Passing of the Keepers of Salento, screenplay/paper cinema
       
     
Written Cinema - detail from, 'The Passing of the Keepers of Salento, screenplay/paper cinema

screenplay for 'The Passing of the Keepers of Salento', which is another version of the film as a text based work. This is Page 1

''Meeting the Pied Piper in Brasov, a paper prologue"
       
     
''Meeting the Pied Piper in Brasov, a paper prologue"

Duration: 6 minutes 52 seconds. Please note in an exhibition context this video is a loop.

High definition video

48 khz stereo sound

2011

'Meeting the Pied Piper in Brasov, a paper prologue" (2011) uses fifty-four new drawings by Creamer to tell the tale of her journey to the Romanian city of Brasov in 2005, where by chance she encountered a group of dancing Skzekely children in the town square. This encounter led to her earlier film Meeting the Pied Piper in Brasov’ (2006). There is no film footage or photographs of this journey or the moments leading up-to this encounter. Instead, with reference to silent movies, Creamer has told this tale by her black and white drawings which have become the film she can no longer make. As well as narrative images she had also painted the film’s opening and closing title sequences, film directions to fade up or down, and a wipe transition between two of the film’s sequences. Creamer reveals the un-made film as a single female hand opens a black box and lifts out one drawing at a time: a sort of anti-animation each movement is also the next frame of the absent film. The moving female hand constantly throws resonant shadows across the drawings while the rhythm between each drawing is precisely timed with an accompanying soundtrack that references 1920’s films. “Meeting the Pied Piper in Brasov, a paper prologue" is a way to tell a story using a form of paper cinema that alludes to silent film: cinema without film in the traditional sense. It is a story-within-a-story, a mis-en-abyme, referencing both Creamer’s own earlier film as well as the German legend ‘Die Kinder zu Hameln’ by Die Brüder Grimm.

Anne-Marie and Tania get the train from Budapest to Transylvania. They change trains at Brasov and while they wait they drink a coffee in the town square during which they encounter a group of dancing Skzekely children. Tania tells Anne-marie this is the very same square where the Pied Piper was said to have brought the children of Hamelin 730 years ago, after they were said to have disappeared into a void in a cave in Poppenburg just outside Hamelin in Germany. They continue their travels deeper into Transylvania. Anne-Marie decides to search for the cave in the Mereisti mountain gorge which is said to be the exact spot, with a similar void, where the Hamelin children entered Romania. As she does so she thinks about a street in Hamelin called Bungeloss, or soundless street, which to this day in homage to the 130 lost children of the town all conversation and music playing must fall silent if people should find them-selves walking there.

Exhibition History: Anne-Marie premiered ''Meeting the Pied Piper in Brasov, a paper prologue" at the Diepenheim Kunstvereniging, Holland, in the Diepenheim Drawing Centre in October 14th 2011. The exhibition features Hans de Wit, Een Keuze, Peter Morrens, Anne-Marie Creamer, Jochem van der Spek, Hans Op de Beeck, and Ben Kruisdijk. The exhibition has been curated by Arno Kramer and feature current forms of important experimental approaches to drawing.

EMERGENCY6, Aspex Arts, Uk, 2013: It was also exhibited in EMERGENCY6 , together with its sister work 'Meeting the Pied Piper in Brasov', aspex arts, Portsmouth, UK, where Anne-Marie won the Peoples Art Prize for the work. 

Written Cinema - The Passing of the Keepers of Salento, paper cinema
       
     
Written Cinema - The Passing of the Keepers of Salento, paper cinema

This version of the video work, The Passing of the Keepers of Salento, for the Moving Landscape project commissioned by Projeto GAP in Italy 2014-15, also appeared in the book of the same name. This attachment for the book featured a text based version of the film.  As well as including the dialogue spoken in the film it include reference to all the sound effects ad action - claiming then to be another version of the film in text based form and part of Anne-Marie's on-going exploration of 'cinema by other means'. 

Written Cinema - detail from, 'The Passing of the Keepers of Salento, screenplay/paper cinema
       
     
Written Cinema - detail from, 'The Passing of the Keepers of Salento, screenplay/paper cinema

screenplay for 'The Passing of the Keepers of Salento', which is another version of the film as a text based work. This is Page 4

Prologue 1 : Meeting the Pied Piper in Brasov
       
     
Prologue 1 : Meeting the Pied Piper in Brasov

A still play.  A film in another form, told by 50 still images.
Images & text by Anne-Marie Creamer
Digital C print. 
11.69 x 16.53 inches
2011

This is a paper version of the work, 'Meeting the Pied Piper in Brasov, a paper prologue'.

(Sequel 1: TOMIS), The Tragedy of a Character, live voice over @ Five Years Gallery, London, 2014
       
     
(Sequel 1: TOMIS), The Tragedy of a Character, live voice over @ Five Years Gallery, London, 2014

Sequel version 1: The Tragedy of a Character

Live Voice-Over, projected image, and sound effects & music

Duration: 10 minutes. 

2014

The Tragedy of a Character” forms a sequel in the afterlife of a fictionalised self-aware, character Anne-Marie previously developed for the project “Kom til deg i Tidende” (2012) -  the character being “the oldest man in Sogn og Fjordane”, a region in western Norway.  Creamer creates a new work that develops the cinematic capacities of writing to describe her enigmatic encounter with the old man who makes a forlorn but angry return to a peninsula in Norway in order to meet with her.  Creamer uses this as a way to extend her use of form and her interpretation of cinema: various elements of this new ‘film’ are held apart and are instead extended into the physical space of a gallery, performed live in front of an audience.  Specifically, the human voice is simultaneously a performed event as well as precisely timed, out of frame Voice-Over tightly synchronized to edited footage together with an atmospheric use of sound effects and music. The work makes use of spectacle and storytelling, making strategic use of Anne-Marie’s presence in the film as well as the physical presence of the audience.  “The Tragedy of a Character” forms part of an on-going exploration of alternative ways to create cinema without film in the traditional sense.  In these terms ‘Cinema’ also becomes an range of artistic strategies, involving drawing, the moving image, cinematic writing, sound, music, as well as objects and props.

There is also a version of this work made for camera, (Sequel 2: TOMIS), The Tragedy of a Character, live voice over

For information please look at Anne-Marie’s related work, Kom til deg i Tidende.

(Sequel 1: TOMIS), The Tragedy of a Character, live voice over @ Five Years Gallery, London, 2014
       
     
(Sequel 1: TOMIS), The Tragedy of a Character, live voice over @ Five Years Gallery, London, 2014

(image: Anne-Marie performing a live voice-over for 'Sequel version 1: The Tragedy of a Character, live voice-over' at the Five Years gallery in 2014).

(Sequel 1&2: TOMIS), The Tragedy of a Character, live voice over - script extract
       
     
(Sequel 1&2: TOMIS), The Tragedy of a Character, live voice over - script extract

Sequel version 1: The Tragedy of a Character, live voice-over, script extract.

Text written by Anne-Marie Creamer, 2014.

Sleepwalker
       
     
Sleepwalker

A still play.  A film in another form, told by one still image.

Image & text by Anne-Marie Creamer

Digital C print. 

1996, remade 2015

The Prompter of Krumlov photo-novel
       
     
The Prompter of Krumlov photo-novel

A still play.  A film in another form, told by 50 still images.
Images & text by Anne-Marie Creamer
11.69 x 16.53 inches
Digital C print. 
2006

This is a paper version of the work, 'The Prompter of Krumlov'.

Movie titles
       
     
Movie titles

ink on glassine paper. 
29.7 x 42 cm
2000

The Defence Ein Lichtspiel 1
       
     
The Defence Ein Lichtspiel 1

Digital C prints.

2008

All taken during ‘village day’ in Czikzederea, Transylvania, within Hungarian Székey Land, a principality of ethic Hungarians who until the end of WW1, when the Romanians forced many out, they had lived for hundreds of years. Surrounded by Ceausescu’s communist Romania, the Székey’s found ways to remember who they were by preserving old forms of dress, song and dance, such that now Hungarians in Budapest sometimes travel there so that they bear witness to an older form of ‘Hungarian-ness’ that they themselves have long forgotten.

The Defence Ein Lichtspiel 8
       
     
The Defence Ein Lichtspiel 8

Digital C print.

2008