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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 based in the Ebbw Valley, Wales. Their installations combine sculptural wood and metalwork with text, audio, film and performance to imagine autonomous and alternate futures.

They have shown with The Bluecoat, The Mosaic Rooms, Brent Biennial, g39, Glynn Vivian, Chapter Arts Centre, MOSTYN, Peak, Arcade Campfa, Centrum Kultury ZAMEK and more. Together they are on the g39 Fellowship 2022-24, and run collective, small press and radio project LUMIN (lumin-press.com).

AWARDS

g39 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
forthcoming, Freelands Space, London

forthcoming, g39, Cardiff

forthcoming, Stuart Hall Library, Iniva, London

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

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
residency at The Museum of Applied Arts (Poznan National Museum), Poznan

Platfform, 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, 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

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

UTYPIA, Oriel Davies Gallery

2021
Merched yn Gwneud Celf zine, Eisteddfod

Welsh experimental writers, 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

interview, Wide Vicinity

2018‘
Save Our Sculpture, Wales Arts Review

Enshrinement, LUMIN

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

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

TALKS

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 Talk, 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
 

IT RESONATES LIKE SPALTING WOOD


2021. installation, three channel film, sculpture

solo show with Beau W Beakhouse. development supported by Arts Council Wales Stabilisation Fund.

Arcade/Campfa, Cardiff

May 29 – July 10 2021

For their first solo show as a collaborative duo, Beau W Beakhouse and Sadia Pineda Hameed organise, enact and reiterate spaces for interpersonal communication and speculation. The installation it resonates like spalting wood comprises tools for a mode of dialogue that attempts to exist outside colonial space; prioritising tactile and latent ways of speaking, sharing and planning.

Suspended in the gallery, three boards based on the Filipino game sungka revivify fluencies in this tactile, inherent language. The short configuration, original configuration and star configuration function to prime dialogue, facilitate play and signal respectively, allowing two players to express intimacies not possible in languages whose vocabularies inescapably perpetuate and express oppression: I have an abundance, you feel imbalanced, we repeat ourselves. Nearby a windfallen log, split and bookmatched, appoints a site for speculating together. In conversation with histories of settler colonialism, botanical imperialism and the arboretum, the redwood is moved again, now becoming a type of social space which remembers and incites. Accompanying these works is a three-channel film, another sequence of iterations through which place, temporality and fiction intersect. Lit by three torches, a figure maintains a canoe in stasis on a frozen lake, a staging that defamiliarises ideas of stillness, resistance and rest.

it resonates like spalting wood envisions the materials, means and possibilities of dialogue through traditional green woodwork, markings and enactment; resonant objects that share an unfamiliar, utopic green glow.