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. 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 (


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


Forthcoming, Llantarnam Grange, Cwmbran

Forthcoming, National Museum Wales, South Wales

Ornaments of Prospect, Catalyst Arts, Belfast

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

it resonates like spalting wood, Arcade/Campfa, Cardiff

The Song of My Life, Bluecoat, Liverpool

Local 37, MOSTYN, Llandudno

Tiny Bubbles in the Wine, HOAX, online


HERE, NOW, Bay Arts, Cardiff

Here, at the edge, today, g39, Cardiff

Betwixt: Beneath, the Crypt Gallery, London

SMALL V01CE, Honor Fraser, Los Angeles

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

British School at Rome Open Studios, Rome

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

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, Cardiff

A New Mecca, Gentle/Radical, Cardiff

Analogue, Three Doors Up, Cardiff


British School at Rome, Rome

Centrum Kultury ZAMEK residency, Poznan

Casgleb, Peak Cymru, Abergavenny

Unidee, Cittadellarte - Fondazione Pistoletto, Biella

Co-Tangent, Tangent Projects, Barcelona

Jerwood UNITe, g39, Cardiff

Catalyst Arts Spring online residency, Belfast


Hinterlands, Peak Cymru

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

WARP Library residency, g39, Cardiff

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

Curatorial residency, SHIFT, Cardiff


‘Link Rot’, Jerwood Staging Series, Jerwood Arts

‘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, The Open University and Festival of Voice, Cardiff


Poetry Wales 59.1 Summer 2023

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

UTYPIA, Oriel Davies Gallery


Merched yn Gwneud Celf zine, Eisteddfod

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

‘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


CASTRO Projects, Rome

visiting artist, Arts Council Wales’ Cynefin

visiting artist, Oriel Myrddin emerging artists programme


visiting artist, Cardiff Metropolitan - Fine Arts BA

visiting artist, Oxford University - Fine Arts MA

HerStories // Shelf Life, Iniva

‘Dismantling Structural Inequality In Your Cinema’, 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



2019. installation

group show. Work based on Vladmir Zykov’s process experiment ‘I was told to write fifty words’ (2008) using Amazon’s ‘mechanical turk’, with permission from the artist.

Communion, SHIFT, Cardiff

For I Was Told to Write Fifty Words, Vladimir Zykov employed the services of Amazon’s Mechanical Turk (an online labour pool specializing in repetitive tasks paid piecemeal) to create a work conceived of but not written by himself. On the job board, he gave the simple instructions: “Write fifty words.” Offering a payment of one cent for every fifty words received, he was able to “write” each poem for one cent; the project was finished when Zykov had collected 500 sets of words, costing him a total of $5.00. The final work is completely unedited by Zykov.

Although Zykov touches on a number of issues here, most prominent is the concern with modes of production, labour, and value: What is the value of language? Can poetry be farmed out by proxy? Is there a mode of production for poetry that follows capitalist models? Almost Warholian, Zykov imagines a textual factory. His plan is far-reaching: eventually he hopes to commission a range of full-length works written in this manner, spanning every literary genre, from sci-fi to detective novels and cookbooks.

Sadia Pineda Hameed restaged ‘I was told to write fifty words’ in an exhibition setting, offering one penny as a fee, alongside participation in the group show. The following line was given to each participant to put onto their arts portfolio / CV if they wished: Group show. write fifty words, Communion, SHIFT. Cardiff, 2019. Commissioned by LUMIN. The restaging interrogated labour in the arts, considering what condition or environment might create a more equitable exchange, when monetary exchange within institutions fail to value labour sufficiently.

Images: Adam Lewis