Collaborative practice
The collaborative practice of Beau W Beakhouse and Sadia Pineda Hameed has been ongoing since 2014.
We work across mediums of artist moving image, text-art, poetry, performance and visual art and explore themes of the archive, place, pedagogy, colonial history and non-normative poetry.
Our long-term and research-based projects explore excavation and post-colonial thought, radical organising and reorganising, building our own libraries, archives and syllabuses, enshrinment through enaction as opposed to re-enactment, and care. ︎︎︎
We work across mediums of artist moving image, text-art, poetry, performance and visual art and explore themes of the archive, place, pedagogy, colonial history and non-normative poetry.
Our long-term and research-based projects explore excavation and post-colonial thought, radical organising and reorganising, building our own libraries, archives and syllabuses, enshrinment through enaction as opposed to re-enactment, and care. ︎︎︎
Sungka
2019 - Present
Supported by Arts Council Wales / Lottery Fund
A multi-phase and multi-disciplinary project on silent and unsilenced communication. Tactile language, future-telling.
The first stage uses traditional green woodcraft, film, and research to develop a sculptural and ‘playable’ artefact; multiple configurations of the ‘sungka’ board close to Sadia Pineda Hameed’s Filipino heritage.
A second phase between August - September 2020 puts into practice our ‘active-archive’ approach; collaborating with artists Zain Amir & Radha Patel.
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Supported by Arts Council Wales / Lottery Fund
A multi-phase and multi-disciplinary project on silent and unsilenced communication. Tactile language, future-telling.
The first stage uses traditional green woodcraft, film, and research to develop a sculptural and ‘playable’ artefact; multiple configurations of the ‘sungka’ board close to Sadia Pineda Hameed’s Filipino heritage.
A second phase between August - September 2020 puts into practice our ‘active-archive’ approach; collaborating with artists Zain Amir & Radha Patel.
Capel-y-Ffin
Present
‘The great secret is no secret
Senses fit the winds,
Visible is visible,
rain-mist curtains wave through the bearded vale,
{...}
What did I notice? Particulars!’
- Wales Visitation, Allen Ginsberg
A located project in the Black Mountains tracing Allen Ginsberg’s 1967 ‘trip’ to Llanthony Valley. Enaction as opposed to reanactment through a sequence of film works and performances as exposition, development, and recapitulation. A summoning.
![]()
‘The great secret is no secret
Senses fit the winds,
Visible is visible,
rain-mist curtains wave through the bearded vale,
{...}
What did I notice? Particulars!’
- Wales Visitation, Allen Ginsberg
A located project in the Black Mountains tracing Allen Ginsberg’s 1967 ‘trip’ to Llanthony Valley. Enaction as opposed to reanactment through a sequence of film works and performances as exposition, development, and recapitulation. A summoning.
