sadiaph@gmail.com
@sadiaph

b. 1995, London
Lives in the Ebbw Valley

Sadia Pineda Hameed is a Filipina Pakistani artist and writer based in the Ebbw Valley, Wales. She works in film, installation, text and performance to explore collective and inherited trauma; in particular, the latent ways we speak about this through dreaming, telepathic communion and secrets as an anti-colonial strategy inherent to us. Her practice is led by semiotic and associative journeying, and a trust in the intuitive process.

She often works with Beau W Beakhouse (beauwbeakhouse.com) as a collaborative duo. Their installations combine sculptural wood and metalwork with text, audio, film and performance to imagine autonomous and alternate futures and to consider the relations between colonialism, labour and speculative fiction. Condensed in their concept of ‘rustic futures’, the duo create hybrid objects using repurposed techniques and processes familiar to both traditional craft and industrial manufacture. Together they are on the g39 Fellowship 2022-24, and run print, radio and curatorial project LUMIN (lumin-press.com).

AWARDS

g39 Freelands Fellowship 2022-4
The Arts Foundation Futures Award longlist 2022
Paul Hamlyn Award for Visual Artists recipient 2021
Literature Wales New Writers Bursary & Mentoring recipient 2020
Rising Star Wales Award recipient 2020

SOLO EXHIBITION

2023
Ornaments of Prospect, Catalyst Arts, Belfast, supported by Jerwood

2022
(misunderstanding), (accommodation), (performance), (loss), Brent Biennial 2022, In the House of my Love, in partnership with Build Hollywood and Studio Voltaire. Produced by Metroland Cultures

2021
it resonates like spalting wood, Arcade/Campfa

2020
The Song of My Life, Bluecoat Liverpool

Local 37, MOSTYN

2019
Tiny Bubbles in the Wine, HOAX

GROUP EXHIBITION

2023
Can publications be porous?, Stuart Hall Library, Iniva, London

2022
Open Milpa Lab: Living Room. Centrum Kultury ZAMEK, Poznan

Thinking Green, Glynn Vivian, Swansea

I Watched in Amazement, curated by HOAX, The Mosaic Rooms, London

2021
The Mobile Feminist Library: In Words, In Action, In Connection, MOSTYN, Llandudno

Jerwood UNITe open studios, g39, Cardiff

2020

(un)seen (un)heard, National Museum Cardiff

2019
Made in Roath Open, g39

A New Mecca, Gentle/Radical, Cardiff

2018
Analogue, Three Doors Up (Arcade/Campfa)

RESIDENCIES

2022
Centrum Kultury ZAMEK residency, Poznan

Casgleb, Peak Cymru, Abergavenny

2021
Unidee, Cittadellarte - Fondazione Pistoletto, Biella

Tangent Projects, Barcelona

Jerwood UNITe, g39, Cardiff

Catalyst Arts Spring online residency, Belfast

2020

Hinterlands, Peak Cymru

Hunan-Iaith poetry and translation residency, Where I’m Coming From and Y Stamp, supported by Literature Wales

2019
WARP Library residency, g39, Cardiff

Ty Newydd Emerging Writers residency, funded by Literature Wales and Wales Arts Review

Curatorial residency, SHIFT, Cardiff

2017
LUMIN Library residency, Three Doors Up (Arcade/Campfa), Cardiff

PERFORMANCE

2022
‘Link Rot’, Jerwood Staging Series, Jerwood Space, London (restaging TBA)

2021
‘Borrow Tomorrow’, The Mosaic Rooms, London

‘PAMPHLET BOMB’, Chapter Arts Centre, Cardiff

‘speculation’, Jerwood UNITe open studios, g39, Cardiff

2020

‘return etc’, Digithon Festival, arts headliner, Wales Arts Review, online

2019

featured poet, Where I’m Coming From, g39, Cardiff

‘Bearing Witness to Truth’, National Museum Cardiff and Artes Mundi, Cardiff

2018
‘The Crypt’, Gentle/Radical’s A New Mecca, The Temple of Peace, Cardiff

‘Decolonising Heritage’ with Gentle/Radical, Bay Arts, Cardiff, commissioned by the Eisteddfod & the National Trust

featured poet, Porridge, Theatre Deli, London

featured poet, Women & War: An Un-silencing, commissioned by Gentle/Radical, The Open University and Festival of Voice

PUBLICATION

2023
Poetry Wales 59.1 Summer 2023

2022
HON: Women Artists in Wales, H’mm Arts Foundation Press

UTYPIA, Oriel Davies Gallery

2021

Merched yn Gwneud Celf zine, Eisteddfod

Poetry Wales 57.1 Summer 2021

DOUBLE, Takeaway #9

Imagining Internationally Connected Practice (consulting artist), Arts Council Wales

2020

Undefining the Artist, Wales Arts Review

Dismantling Structural Inequality in Your Cinema, BFI

LOVE Magazine, Love Diaries vol. 1

‘After ‘Evening’, Kurt Schwitters’, ZARF #14

2019
‘Tortang Tolang’, Porridge Magazine: Comfort Foods

‘Site Ruin’, Amberflora Issue 6

2018
Save Our Sculpture, Wales Arts Review

‘For you, after a film’, Porridge Magazine Issue 1

'To (Un)speak Madness re: Derrida, Foucault, Artaud', LUMIN Journal 1

TALKS

2023
visiting artist, Arts Council Wales’ Cynefin

visiting artist, Oriel Myrddin emerging artists programme

2022

visiting artist, Cardiff Metropolitan - Fine Arts BA

visiting artist, Oxford University - Fine Arts MA

2021
HerStories // Shelf Life, Iniva

‘Dismantling Structural Inequality In Your Cinema’, Glasgow Film Festival (2021), This Way Up Festival (2020)

2020
Women in Publishing Symposium panelist, Bangor University

2019
guest critic, BBC Radio Wales’ Arts Review Show

‘Dis/establishing the archive’, Archiving Gender symposium paper presentation, Cardiff University

2018
Gentle/Radical’s Imagination Forum #4, symposium at Sustainable Studios, Cardiff

 

THE BRIGHTNESS OF METAL AND METALLIC THINKING


2024. sculpture; engraved steel

group show. with Beau W Beakhouse.

Betwixt: beneath, The Crypt Gallery (Freelands Foundation), London

17 February - 23 February

Betwixt is a celebration of emerging artistic practices across the UK, taking place across four sites in central and north London. It brings together works by 20 artists from Belfast, Cardiff, Edinburgh and Sheffield in a vibrant week-long event. Four distinctive cultural spaces and venues each host a group exhibition focused on a unique theme: inching towards, beneath, beyond and held. beneath is a subterranean exhibition nestled in The Crypt Gallery at St. Pancras Church in Euston. Here, artists delve into the enigmatic, embracing the unknown as sites of resistance. beneath emerges from the shadows, a portal opening toward reimagined futures.

‘I myself have been attracted to Fanon’s name and voice because both have the brightness of metal. His is a metamorphic thought, animated by an indestructible will to live. What gives this metallic thinking its force and power is the air of indestructibility and the inexhaustible silo of humanity which it houses.’ Achille Mbembe, ‘The Year of Frantz Fanon’

The Brightness of Metal and Metallic Thinking depict speculative scenes in the lives of two anti-colonial figures: José Rizal and Frantz Fanon. Rizal’s imprisonment in Montjuïc castle, Barcelona, before his execution in the Philippines, is retold and contested in archives and biographies, including claims that Rizal was forced to climb the hill from the dock below, carrying all his books. Attempted assassinations of Fanon during a hospital stay in Rome are entangled with misreporting and political distortion, especially difficult to trace because of his use of a pseudonym.

Taking inspiration from utopian artmaking and the capriccio - a dream-like interpretation of a place that combines monuments, disrupts geographies and interlinks temporalities - these steel engravings form their own myths and memorials to moments of pause. Reminiscent of steel plates used in printing, the work holds a latent interest in the use of tools; iterations and states that can be edited to make and reshape reality. The intimate, unknowable, overlapping or conflicting narratives within the archive coalesce to create a speculative architecture, inspired by the futures of these sites and the layered narratives of their protagonists.

The works are also accompanied by Nest (bolo) and Nest (variable), two works from previous solo exhibition Ornaments of Prospect (2023), Catalyst Arts, Belfast. The exhibition is accompanied by a publication, Betwixt (2024) featuring a text by Alice Bucknell on Sadia Pineda Hameed and Beau W Beakhouse’s collaborative practice, also available on New Mystics.

Curated by Wingshan Smith.

Supported by Freelands Foundation, as part of the Freelands g39 Fellowship 2022-24.

Images: Andy Stagg