ENSHRINEMENT
2018. installation: 35mm photographs, pen sketch, photocopies, fridge door, xerox pamphlet
group show. pamphlet published by LUMIN, 2018
Analogue, Arcade/Campfa (Three Doors Up), Cardiff
Sadia Pineda Hameed’s work investigates the transformative potential of images and objects through a process she calls enshrinement. Drawing on her own experiences and found imagery, the work considers how latent energy in a still image or personal artifact can be activated through care, attention, and repetition.
Hameed drew a portrait of Baudelaire and affixed it to her fridge. She then rediscovered a photocopy she had made in 2013 from a book on Allen Ginsberg, featuring a photograph of his fridge. In an uncanny alignment, Ginsberg’s fridge held the same image of Baudelaire in a nearly identical position. Responding to this correspondence, she placed the photocopy of Ginsberg’s fridge onto her own fridge, then photographed the result on 35mm film. This image, installed in the gallery alongside her original drawing, becomes a layered enactment: part personal restaging, part serendipitous resonance, and part deliberate reiteration.
Adjacent to this work are 35mm photographs documenting a small, playful shrine to Ginsberg from her bedroom, inspired by the Honoré Balzac shrine in Truffaut’s 400 Blows. A photocopy of Ginsberg giving a reading, which was included in the shrine, is also displayed, reinforcing the network of repetition, homage, and reverence.
Through these interconnected gestures, Hameed’s practice explores how images and objects can circulate energy back to their caretakers. Enshrinement, whether of a drawing, a photograph, or a personal shrine, creates a space where affective resonance may emerge, transforming what may at first appear coincidental into moments of correspondence, invocation and symmetry. The exhibition also includes the copy of Paris Spleen from which the Baudelaire portrait was drawn from, and a xerox pamphlet outlining this process of enshrinement.
Hameed drew a portrait of Baudelaire and affixed it to her fridge. She then rediscovered a photocopy she had made in 2013 from a book on Allen Ginsberg, featuring a photograph of his fridge. In an uncanny alignment, Ginsberg’s fridge held the same image of Baudelaire in a nearly identical position. Responding to this correspondence, she placed the photocopy of Ginsberg’s fridge onto her own fridge, then photographed the result on 35mm film. This image, installed in the gallery alongside her original drawing, becomes a layered enactment: part personal restaging, part serendipitous resonance, and part deliberate reiteration.
Adjacent to this work are 35mm photographs documenting a small, playful shrine to Ginsberg from her bedroom, inspired by the Honoré Balzac shrine in Truffaut’s 400 Blows. A photocopy of Ginsberg giving a reading, which was included in the shrine, is also displayed, reinforcing the network of repetition, homage, and reverence.
Through these interconnected gestures, Hameed’s practice explores how images and objects can circulate energy back to their caretakers. Enshrinement, whether of a drawing, a photograph, or a personal shrine, creates a space where affective resonance may emerge, transforming what may at first appear coincidental into moments of correspondence, invocation and symmetry. The exhibition also includes the copy of Paris Spleen from which the Baudelaire portrait was drawn from, and a xerox pamphlet outlining this process of enshrinement.
