b. 1995, London
Living in Cardiff, Wales

Sadia Pineda Hameed is a Filipino/ Pakistani artist and writer based in Cardiff. 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 based in Cardiff, Wales, whose practice dramatises, reconstructs and reenacts autonomous and alternate futures. their work often takes the form of speculation, resistance and site-building at the intersection of performance and installation. In particular they continuously engage with text and the archive, undoing and disassembling relationships between language and colonialism; and unfolding processes of decay and disassembly as alternatives to western models of preservation. They look to revivification, working against the static categories of institutional models. Together they are on the Freelands Fellowship 2022-4, and run collective, small press and radio project LUMIN (


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


forthcoming, Catalyst Arts, Belfast

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

‘it resonates like spalting wood’ with Beau W Beakhouse, Arcade/Campfa

‘Song of My Life’, Bluecoat Liverpool

‘Local 37’ with Beau W Beakhouse, MOSTYN

‘tiny bubbles in the wine’, HOAX


forthcoming, Freelands Space, London
forthcoming, g39, London

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

A New Mecca, Gentle/Radical, Cardiff

Analogue, Three Doors Up (Arcade/Campfa)


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

Platfform, Peak Cymru, Abergavenny

Unidee, Cittadellarte - Fondazione Pistoletto, Biella

Tangent Projects, Barcelona

Jerwood UNITe, g39, Cardiff

Catalyst Arts Spring Online Residency, Belfast


Hinterlands, Peak Cymru

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

WARP Library Residency, g39, Cardiff

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

Curatorial Residency, SHIFT, Cardiff

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


forthcoming with Jerwood Staging Series, Jerwood Space, London

‘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, commissioned by Gentle/Radical, The Open University and Festival of Voice


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

UTYPIA, Oriel Davies Gallery


Merched yn Gwneud Celf zine, Eisteddfod

feature in ‘Welsh experimental writers’ article, 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

interview, Wide Vicinity

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


forthcoming, ESEA artists in Wales roundtable

visiting artist, Cardiff Metropolitan - Fine Arts

HerStories // Shelf Life, Iniva

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

Women in Publishing Symposium panelist at Bangor University

guest critic, BBC Radio Wales’ Arts Review Show

interview, Wide Vicinity

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

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



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.