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 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 (


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


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

(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

it resonates like spalting wood, Arcade/Campfa

The Song of My Life, Bluecoat Liverpool

Local 37, MOSTYN

Tiny Bubbles in the Wine, HOAX


forthcoming, Freelands Space, London

forthcoming, g39, Cardiff

forthcoming, Stuart Hall Library, Iniva, London

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

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


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

‘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

Welsh experimental writers, 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


visiting artist, Cardiff Metropolitan - Fine Arts BA

visiting artist, Oxford University - Fine Arts MA

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, 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



2023. sculpture, sound

solo show. with Beau W Beakhouse.

Catalyst Arts, Belfast, Northern Ireland.

2 March - 1 April

Ornaments of Prospect is an installation by collaborative duo Beau W Beakhouse and Sadia Pineda Hameed at Catalyst Arts. The installation sets out to reimagine tool making and methods of metal production, and how this might lead to collective and alternative modes of communication, knowledge and craft.

The installation expands on rural and agricultural use of tools, traversing alternative worlds of steel production and industrial backdrops of science fiction, to open a dialogue surrounding the complex and multiple approaches to tools, their manufacture and expanded use.

Through experiments in metalwork and heat treatment the duo investigate the potential of waste and the speculative futures that arise from skeletal cut outs rendered nonfunctional in the process of crafting tools. The work envisions the speculative tools and collaborations that can emerge from these spaces of absence, considering the new languages and actions that objects with an unknown function can unfold. The question what does a future look like in which tools are created without purpose? permeates the installation.

Tools and their use can also redefine hierarchies and create a foundation for considering anti colonial strategies of resistance, whilst acknowledging the complex role of tools in capitalist and western hands that utilise their designs as instruments of progress. Through reconceptualising the Filipino bolo, a tool used both for agriculture and warfare, the work in the exhibition questions how colonial tools can be subtly repurposed in small ways, remoulding ideas of profit, material maximisation, use and functionality.

Curated by Cecelia Graham, Director Catalyst Arts with accompanying text ‘The Consolation of Carpenters’.

Supported Arts Council Northern Ireland and Jerwood Arts New Work Fund.

Images: Simon Mills