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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. 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 (lumin-press.com).

AWARDS

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

SOLO EXHIBITION


2025
Forthcoming, Llantarnam Grange, Cwmbran

2024
Forthcoming, National Museum Wales, South Wales

2023
Ornaments of Prospect, Catalyst Arts, Belfast

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

2021
it resonates like spalting wood, Arcade/Campfa, Cardiff

2020
The Song of My Life, Bluecoat, Liverpool

Local 37, MOSTYN, Llandudno

2019
Tiny Bubbles in the Wine, HOAX, online

GROUP EXHIBITION


2024
HERE, NOW, Bay Arts, Cardiff

Here, at the edge, today, g39, Cardiff

Betwixt: Beneath, the Crypt Gallery, London

SMALL V01CE, Honor Fraser, Los Angeles

2023
Can publications be porous?, Stuart Hall Library, Iniva, London

British School at Rome Open Studios, Rome

2022
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

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, Cardiff

A New Mecca, Gentle/Radical, Cardiff

2018
Analogue, Three Doors Up, Cardiff

RESIDENCIES


2023
British School at Rome, Rome

2022
Centrum Kultury ZAMEK residency, Poznan

Casgleb, Peak Cymru, Abergavenny

2021
Unidee, Cittadellarte - Fondazione Pistoletto, Biella

Co-Tangent, Tangent Projects, Barcelona

Jerwood UNITe, g39, Cardiff

Catalyst Arts Spring online residency, Belfast

2020
Hinterlands, Peak Cymru

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

2019
WARP Library residency, g39, Cardiff

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

Curatorial residency, SHIFT, Cardiff


PERFORMANCE


2022
‘Link Rot’, Jerwood Staging Series, Jerwood Arts

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, The Open University and Festival of Voice, Cardiff

PUBLICATION


2023
Poetry Wales 59.1 Summer 2023

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

UTYPIA, Oriel Davies Gallery

2021
Merched yn Gwneud Celf zine, Eisteddfod

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

2018
‘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

TALKS


2023
CASTRO Projects, Rome

visiting artist, Arts Council Wales’ Cynefin

visiting artist, Oriel Myrddin emerging artists programme

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’, 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
 

PORTAL


2023. installation; UV printed birch ply, pine dowel, linen thread

group show.

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

24 May - 28 July

Can publications be porous? invites audiences to speculate a trajectory from out-of-print black feminist books to possible notions of publishing futures, offering ideas for collective transformation. This exhibition (with Sadia Pineda Hameed, Amber Akaunu, and Fauziya Johnson, co-curated with artist and cultural futurist Lauren Craig) takes the Stuart Hall Library as an experimental space to question the porosity of publishing in conceptual, existential, and material forms. Its two principal aims are to explore how artists consider, experiment with, and reject concepts of collectivity and individuality, and to expand awareness of, diversify, and horizontalise knowledge systems.

This exhibition is the third phase of a project initiated by Lauren Craig in 2021 under the title HerStories // Shelf Life, which brings together B/black women’s and non-binary people of colour’s creative writing and publishing collectives. Highlighting collaborative and rhizomatic methods of regenerative cultural production and dissemination, it takes a peek at the shelf life of collective publishing, from printed matter to digital to audiovisual.

Portal continues Sadia’s interest in the resonances of archival and oral histories and their communication through speculation, dramatisation and fictionalisation. Starting with a photograph of Sadia’s mother, Luisa, taken at Manila Airport in the Philippines on a trip home from London, the work reconstructs this image across 513 interlinked tablets of a beaded curtain. The reverse side features a fictionalised version of the contents of Luisa’s bag from the archival image. Past and future mementos fall out of the bag, including a framed image of Pinoy love team Guy and Pip, Catholic amulets, the yet to be published Uncut Funk, a photograph with husband Asad and a library card from future home borough Brent. These objects represent the complex ways in which colonialism and migration rupture and reform identity, postcolonial strategies of resistance, and the many gestures of ‘thrivival’, love and joy. The beaded curtain becomes a portal through this archival material, an invitation to disrupt the static image and a way to enter an alternate narrative where chronologies, fictions and symbols disarrange, entangle and merge.

Curated by Lauren Craig and Beatriz Lobo (iniva)

Supported by Arts Council England and Freelands Foundation.

Images: Thierry Bal