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      <image:caption>Work has featured in numerous publications from 1994 until the present</image:caption>
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      <image:caption>Work has featured in numerous publications from 1994 until the present</image:caption>
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  <url>
    <loc>https://www.sianbonnell.com/phototheatre</loc>
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    <lastmod>2025-08-15</lastmod>
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      <image:title>photo-theatre</image:title>
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      <image:title>photo-theatre</image:title>
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      <image:title>photo-theatre</image:title>
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      <image:title>photo-theatre</image:title>
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      <image:title>photo-theatre - Risk Assessment 2007</image:title>
      <image:caption>The sister piece to Health &amp; Safety. A series of properly risk-assessed household tasks are undertaken wearing the correct safety gear.</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ceff9ddcb3a8400011e6f78/1559391744690-13F6E09E5R7CWHQG8ANU/s.c1.jpg</image:loc>
      <image:title>photo-theatre - Everyday Dada 2003-5</image:title>
      <image:caption>A critical comment on what was happening socially in the UK between 2003 and 2005. These photographs feature room sets and situations which were made specifically for the camera. The context was consumerism: the quality of food being sold in supermarkets, the housing boom, taste and excess. The photographs were conceived as a set of four chapters; featured here are a selection from three of the chapters: Scenic Cookery, House beautiful and Serving Suggestion.</image:caption>
    </image:image>
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      <image:title>photo-theatre - Disciplines 2014</image:title>
      <image:caption>I too am the found object, the ready-made for these pictures. It is as much about the space of performance as the figure depicted within it - a fusing of sculpture, performance and photography which constitutes what I think of as theatre or photo-theatre. I understand that in these images the figure becomes object with all the objects themselves acting.</image:caption>
    </image:image>
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      <image:title>photo-theatre - When the domestic meets the wild 1999</image:title>
      <image:caption>The focus of the work was an enquiry into the domestic experience, the desire for escape and wilderness. The objects’ positioning either in the ‘out of doors’ or ‘indoors’ is both overtly comic and absurd connoting a madness in the placement - a form of desperation which is palpable within these images. I found I could construct a landscape out of artefacts traditionally associated with ‘women and the vulgar’, (Biggs: 2001) a home-made nonsensical female domain.</image:caption>
    </image:image>
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      <image:title>photo-theatre - from the series LUDA 2017 and ongoing</image:title>
      <image:caption>I realised I was testing John Cage’s Serious Play – both in work and method - particularly the towel and sheet throwing video pieces, which are a direct link to Marcel Duchamp’s 3 Standard Stoppages 1913-14. Utilising my own form of ad hocism (Jencks and Silver: 1972) I opted to work only with what was ‘at hand’, finding things that were worth nothing in themselves but working with them as art objects, making something from them, in the manner of the facteur Ferdinand Cheval’s Palais Idéal. It is especially liberating/reassuring to realise that I found myself tapping into work that I had begun making 40 years ago - right back to my sculptural roots - it made me very happy. Simultaneously, I was also asking what does the camera want? How can I subvert this machine and make pictures of things worth nothing and not what the camera wants - e.g. a load of mops and brooms and cardboard boxes rescued from the rubbish?</image:caption>
    </image:image>
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      <image:title>photo-theatre - from the series LUDA 2017 and ongoing</image:title>
      <image:caption>I realised I was testing John Cage’s Serious Play – both in work and method - particularly the towel and sheet throwing video pieces, which are a direct link to Marcel Duchamp’s 3 Standard Stoppages 1913-14. Utilising my own form of ad hocism (Jencks and Silver: 1972) I opted to work only with what was ‘at hand’, finding things that were worth nothing in themselves but working with them as art objects, making something from them, in the manner of the facteur Ferdinand Cheval’s Palais Idéal. It is especially liberating/reassuring to realise that I found myself tapping into work that I had begun making 40 years ago - right back to my sculptural roots - it made me very happy. Simultaneously, I was also asking what does the camera want? How can I subvert this machine and make pictures of things worth nothing and not what the camera wants - e.g. a load of mops and brooms and cardboard boxes rescued from the rubbish?</image:caption>
    </image:image>
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      <image:title>photo-theatre - ten seconds</image:title>
      <image:caption>In March 2022, I was given a two-day residency to make some pictures in the gallery space at Photofusion. Previously, the last work I had made in Rome in 2017, was a set of experimental works opting to work only with what was ‘at hand’. Using the mops and brooms lying around the place and cardboard boxes rescued from the rubbish, objects that were worth nothing in themselves . This time, the main driver for my Photofusion work was the ten-second timer that I set to make these pictures, each performance lasting for as long as the camera shutter remained open. I made impromptu sculptures out of the strange and assorted objects and equipment left lying around in the gallery corridors behind the scenes while the gallery space was changing prior to the next show. I became intrigued with this idea of time, speed and balance – quite literally catching moments. What interested me most, were the instants and movements a little bit off or a little bit out; implying impending disaster or complete failure, fractions of seconds before occurring.</image:caption>
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      <image:title>photo-theatre - constructed celebrities 2016 (ongoing collaboration with artist friends)</image:title>
      <image:caption>george &amp; betty as karl &amp; choupette 2016</image:caption>
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      <image:title>photo-theatre - Gamma 2003</image:title>
      <image:caption>Gamma is the reverse of Glowing and constitutes twelve tiny black and white hand printed and toned photographs. I wanted to create a sinister, post-apocalyptic, irradiated scene; as if objects from outer space had landed, settled and taken over the world, having leached all the colour out of it. I wanted to convey a darkness but utilising the opposite language - so a super-brightness that is harmful, as if looking into the sun; a cold tone to the printing that somehow suggests heat. The scale was again important. I wanted to provoke a monumental sense to the images despite their being small. This series was about opposites; each visual sign pointing to and signifying its opposite.</image:caption>
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      <image:title>photo-theatre</image:title>
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      <image:title>photo-theatre</image:title>
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      <image:title>photo-theatre - Glowing 2003-4</image:title>
      <image:caption>Single objects are placed close to the frame, photographed at dusk and lit using an amateur ad-hoc array of torches and other domestic lighting sources. Glowing, was conceived from my anger, as a mother of sons, on the decision to go to war in Iraq. I needed to represent these greatest of absurdities (weapons of mass destruction and the war on terror) in a way that ldid not lecture or shout at the audience.</image:caption>
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      <image:title>commissions/residencies - Iby Knill, bem 2021</image:title>
      <image:caption>Commissioned by The Holocaust Memorial Trust, The Royal Photographic Society and The Jewish Chronicle for the exhibition, Generations: Portraits of Holocaust Survivors, Imperial War Museum, London and Royal Photographic Society, Bristol</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ceff9ddcb3a8400011e6f78/1559384323904-3QTAH1WDFHR9BQWKLUC6/Cobh5_7.jpg</image:loc>
      <image:title>commissions/residencies - Locating the other crowd</image:title>
      <image:caption>Two month residency at Sirius Arts Centre, Cobh, Cork in Ireland, throughout July and August in 2008, work series ongoing</image:caption>
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      <image:title>commissions/residencies - ordinary magic</image:title>
      <image:caption>Two month residency at Sirius Arts Centre, Cobh, Cork in Ireland, throughout July and August in 2008, work series ongoing</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5ceff9ddcb3a8400011e6f78/1559384323904-3QTAH1WDFHR9BQWKLUC6/Cobh5_7.jpg</image:loc>
      <image:title>commissions/residencies</image:title>
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      <image:title>commissions/residencies</image:title>
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      <image:title>commissions/residencies - Paula Sherriff MP for Dewsbury</image:title>
      <image:caption>Portrait of Paula Sherriff with some of her constituents at a tea party held to celebrate women in parliament on 6th October 2018</image:caption>
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      <image:title>commissions/residencies - Trepanning (drilling into) the skull</image:title>
      <image:caption>Imagining Medicine was a collaboration with Dr Cordelia Warr and Prof Tony Freemont funded by Manchester University and based on the Early Medical collections in The John Rylands Library working with both Art History and Medical students who selected the illustrations and then re-performed them. The photographs through their absurdist use of hammers, vacuum cleaners, tongs, and hacksaws help make explicit to contemporary audiences the lack of anaesthesia available at the time this book was written. Thus helping us to re-imagine what it might have felt like to experience as a patient, the operations shown in these 17th century books.</image:caption>
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      <image:title>commissions/residencies - portrait of novelist nicholas royle, 2017</image:title>
      <image:caption>A collaboration with Nicholas Royle for the research project Made in Translation led by Prof Alice Kettle at MMU with Portico Library, Manchester</image:caption>
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    <lastmod>2025-11-06</lastmod>
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      <image:title>about/contact</image:title>
      <image:caption>photograph courtesy ©Maisy Dinsdale 2018</image:caption>
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