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 ( 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 were awarded the g39 Freelands Fellowship 2022-24, and co-founded print, radio and curatorial project LUMIN (


Arts Council Wales Perspectives Fellowship 2024
Pushcart Prize Nominee 2023
British School at Rome Fellowship 2023
g39 Freelands Fellowship 2022-24
Arts Foundation Futures Award for Visual Artists longlist 2022
Paul Hamlyn Award for Visual Artists recipient 2021
Literature Wales New Writers Award recipient 2020
Rising Star Wales Writers Award recipient 2020


Forthcoming, Llantarnam Grange, Cwmbran

Forthcoming, National Museum Wales, South Wales

Ornaments of Prospect, Catalyst Arts, Belfast

(misunderstanding), (accommodation), (performance), (loss), Brent Biennial 2022, In the House of my Love, Metroland Cultures, Build Hollywood and Studio Voltaire, London

it resonates like spalting wood, Arcade/Campfa, Cardiff

The Song of My Life, Bluecoat, Liverpool

Local 37, MOSTYN, Llandudno

Tiny Bubbles in the Wine, HOAX, online


HERE, NOW, Bay Arts, Cardiff

Here, at the edge, today, g39, Cardiff

Betwixt: Beneath, the Crypt Gallery, London

SMALL V01CE, Honor Fraser, Los Angeles

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

British School at Rome Open Studios, Rome

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

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

Jerwood UNITe open studios, g39, Cardiff


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

Made in Roath Open, g39, Cardiff

A New Mecca, Gentle/Radical, Cardiff

Analogue, Three Doors Up, Cardiff


British School at Rome, Rome

Centrum Kultury ZAMEK residency, Poznan

Casgleb, Peak Cymru, Abergavenny

Unidee, Cittadellarte - Fondazione Pistoletto, Biella

Co-Tangent, Tangent Projects, Barcelona

Jerwood UNITe, g39, Cardiff

Catalyst Arts Spring online residency, Belfast


Hinterlands, Peak Cymru

Hunan-Iaith, Ty Newydd / National Writing Centre for Wales, Criccieth

WARP Library residency, g39, Cardiff

New Writers Award residency, Ty Newydd / National Writing Centre for Wales, Criccieth

Curatorial residency, SHIFT, Cardiff


‘Link Rot’, Jerwood Staging Series, Jerwood Arts

‘Borrow Tomorrow’, The Mosaic Rooms, London

‘PAMPHLET BOMB’, Chapter Arts Centre, Cardiff

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


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


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

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

‘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, The Open University and Festival of Voice, Cardiff


Poetry Wales 59.1 Summer 2023

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

UTYPIA, Oriel Davies Gallery


Merched yn Gwneud Celf zine, Eisteddfod

Poetry Wales 57.1 Summer 2021

DOUBLE, Takeaway #9

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


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

‘Tortang Tolang’, Porridge Magazine: Comfort Foods

‘Site Ruin’, Amberflora Issue 6

‘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


CASTRO Projects, Rome

visiting artist, Arts Council Wales’ Cynefin

visiting artist, Oriel Myrddin emerging artists programme


visiting artist, Cardiff Metropolitan - Fine Arts BA

visiting artist, Oxford University - Fine Arts MA

HerStories // Shelf Life, Iniva

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

Women in Publishing Symposium panelist, Bangor University

guest critic, BBC Radio Wales’ Arts Review Show

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

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



2022. public art, four billboards

(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.

multiple sites, Willesden and Clapham

8-1 July: Walm Lane, Willesden Green
11-17 July: Dudden Hill Lane, Willesden Green
18-24 July: Clapham High St/Gauden Rd
25-31 July: Clapham High St

Artist Sadia Pineda Hameed presents four billboard artworks as part of her commissions, featuring interconnected conversations that bring together moments of recognition and rupture between languages, cultures and generations. An experiment in hybridisation as a strategy for home-making, the artist presents four iterations of a hybrid language, by writing Tagalog phrases phonetically in Urdu script. This play between languages is activated anew with each reader, creating moments of slippage and familiarity, a space for connection and learning.

Two iterations of the work simultaneously dislocate and conjoin two vital sites for the artist: the Señora de Gracia Church in Makati, Manila, based at the top of the hill where her mother grew up; and the Lahore Fort in Pakistan, which was the logo of her father’s restaurant Lahore Kebab House of East London, Kingsbury from 1992-2010.

The buses, which are combined together in two of the works, find further points of intercultural connection between the Pakistani 'jingle truck' and a Filipino ‘jeepney’. Both remained in the respective countries following British and American military operations, and are now decorated as a distinct artfrom, and used for public transport. The buses are hybrid spaces, connected through generations and separation, that adapt, mask, perform, hide and rewrite parts of themselves and their histories.

Invoking the potentiality of misunderstanding, the feeling of home amongst loss, the power of enactment and the relinquishing of the desire to know, these works playfully unravel beyond the grasps of singularity.

- Eliel Jones

Thanks to artists/friends Beau W Beakhouse, Okui Lala, Alfred Marasigan, Nora Selmani, Deborah Fecadu, Jasmine Hanciles and Sura Fawzi for the conversations.

Billboard text:


Hello how are you?
Good thanks. And you?
Good too. What’s your name?
My name is Sadia Pineda Hameed.
Do you speak Tagalog or Urdu?
I don’t understand.

Kumusta ka?
Mabuti salamat. Ikaw?
Mabuti naman. Anong pangalan mo?
Ako si Sadia Pineda Hameed.
Nagsasalita ka ba ng Tagalog o Urdu?
Hindi ko naiintindihan.


I am trying to accommodate you.
This language is unlivable.
It moves, you mean?
It shrinks.
It moulds around you in the shape of a shell.

Sinusubukan kong paunlakan ka.
Kay hirap manahan sa wikang ito.
Ibig mong sabihin, gumagalaw ito?
Lumiliit ito.
Niyayakap ka nito sa hulma ng isang kabibe.


You are improving.
I am performing proficiency for you.
A performance of diaspora (disintegration, ruin)
I am impossibly many, yet not enough to be one.

Be multitudinous.
Nag-iimprove ka.
Nagpapanggap akong sanay para sa iyo.
Isang dula ng pagkaguho.
Ako ay marami, ngunit hindi ako sapat upang maging isa.
Maging marami pa.


You say it will come back to me, but I don't think it will.
I am sorry for your loss.
May no loss fall upon you. May this not touch you in the same way.

Sabi mo babalik sa akin pero sa palagay ko hindi na.
Nakikiramay ako.
Nawa’y walang mawala sayo. Nawa’y hindi ka kailanman mawalan nang ganito.

Images: Thierry Bal