Curtis, who teaches on UCA Rochester's FE programmes, was commissioned to make the drawings on location, documenting the acts as they performed live in the Big Top. The work is the highlight of this season's Zippos 'Gold' presentation brochure – a show with the celebratory Olympic theme for 2012. These sketches were first shown at the London Press show of Zippos Circus- 'Gold', Olympic 2012 season. A selection of the drawings illustrated the souvenir brochure. It was a deliberate bringing together of the visual and performing arts, as collaborated with Zippo's founder and owner, clown Martin 'Zippo' Burton. Curtis has long held an interest in documenting the life of the circus, and explores the preparatory backstage moments as well...
A vocal improvisation with guitar, where the vocie and guitar respond to one another
My Previous Life as an Ape (MPLAAA) is a single body of work and an exhibition comprising the four s...
Creamer's video 'Meeting the Pied Piper in Brasov, a paper prologue' was featured in 'A History of D...
Exhibition curated by Jim Walker celebrating the work of Bob Godfrey, a pivotal figure in British an...
Performance of Light Dial 3 with Collectress. Part of collaboration with Rambert Dance Company and c...
Two performances on consecutive nights that evolved from improvisational workshops at Queen Mary Uni...
The sculpture looks like a long wooden hut on thin legs, with small openings along the side and roof...
This work uses a set of parameters to enable the 'robots' to draw within a space and timeframe. A se...
Invited to lead a two day workshop ‘Poetry and Movement’ project for Film and Animation BA and MA st...
In a period of ever increasing modes of capturing, documenting, commenting on contemporary life, soc...
In 2007 I created The Smoking Suffragettes, a performance inspired by a publicity stunt intended to ...
Although the technologies used in contemporary expanded animation are digital, this kind of work bui...
When does a drawing turn into a performance? Is the act of drawing in itself a performative process,...
On the 10th of June 2018, over 100,000 women participated in a celebration of the Suffragettes and t...
One of the objectives of the project was to explore how collaborative practices could be used to pro...
A vocal improvisation with guitar, where the vocie and guitar respond to one another
My Previous Life as an Ape (MPLAAA) is a single body of work and an exhibition comprising the four s...
Creamer's video 'Meeting the Pied Piper in Brasov, a paper prologue' was featured in 'A History of D...
Exhibition curated by Jim Walker celebrating the work of Bob Godfrey, a pivotal figure in British an...
Performance of Light Dial 3 with Collectress. Part of collaboration with Rambert Dance Company and c...
Two performances on consecutive nights that evolved from improvisational workshops at Queen Mary Uni...
The sculpture looks like a long wooden hut on thin legs, with small openings along the side and roof...
This work uses a set of parameters to enable the 'robots' to draw within a space and timeframe. A se...
Invited to lead a two day workshop ‘Poetry and Movement’ project for Film and Animation BA and MA st...
In a period of ever increasing modes of capturing, documenting, commenting on contemporary life, soc...
In 2007 I created The Smoking Suffragettes, a performance inspired by a publicity stunt intended to ...
Although the technologies used in contemporary expanded animation are digital, this kind of work bui...
When does a drawing turn into a performance? Is the act of drawing in itself a performative process,...
On the 10th of June 2018, over 100,000 women participated in a celebration of the Suffragettes and t...
One of the objectives of the project was to explore how collaborative practices could be used to pro...
A vocal improvisation with guitar, where the vocie and guitar respond to one another
My Previous Life as an Ape (MPLAAA) is a single body of work and an exhibition comprising the four s...
Creamer's video 'Meeting the Pied Piper in Brasov, a paper prologue' was featured in 'A History of D...