Augustine Paredes

Gently Bruised, Softly Burned

with Antone Liu, Augustine Paredes, & Adam Shiu-Yang Shaw

2026.09.13 - 2026.10.31

Linseed Shanghai, China
No.4, 165 Wuyuan Road, Shanghai

Go Gentle Good Night
120cm x 20cm
Piña, burn marks, broken pearls, oil on glass, found window

The Mouth Is A House on Fire
60cm x 60cm
Piña, Lace, Burn marks, oil on Silk

To Rose A Funeral
120 cm x 120 cm
Oil, Ink, Burn marks, embroidery on Silk

Despair Is Desire Overburdened
23.5 cm x 32.5 cm
Oil on Piña, Silk, Fake Pearls, Burnt Lace, Burn Marks, Incense Marks, Waxed Thread, Peeled Instax

Good God, Bad Boy (2026)
Video, single-channel, sound,
9 min 20 sec

Written, directed, and scored by Augustine Paredes
Featuring voices from Raymund Afoakwa, Aran Kleebaur, and Tong Yang Crest

Good God, Bad Boy (2026) is a film written and directed by Augustine Paredes. It follows a stream of concussions, a fever dream towards decadence, and conversations about queer desperation; borrowing narratives from the Pacific War and verses from the Song of Solomon, in relation to the Chemsex parties in the contemporary queer community.

Installation view of Good God, Bad Boy at Liste Art Fair 2026

‘I want to lick your wounds’ is a poetic rumination on a journey of seeking the possibility of a “comfort gay" post-WW2, inspired by the story of Walter Dempster Jr., who came out as a one in the Philippines during the early 2000s.

This work is part of an ongoing artistic research project on queer narratives, its poetics and erasures, during the Japanese occupation in the Philippines and Korea.

I want to lick your wounds, 2024
8'53" video
Projected on Piña, Hanji, Wood, and Cotton
260 cm x 150cm
Audio Language: Bisaya
Subtitle: Korean, English

Original Poem by Augustine Paredes
Narrated by Egbert Amoncio

Translated to Bisaya by Anna Miguel Cervantes and Melona Grace Mascariñas
Translated to Korean by Boa Song

Research support by MMCA Residency Goyang, Basis Frankfurt, Donghoon Gang, Anna Miguel Cervantes and Todd A Henry

Installation view of I want to lick your wounds at MMCA Goyang Residency, 2024

Installation view of Darlings Between Fires and Glory at Museum Weisbaden, 2025

Darlings Between Fires, 2025
Piña, Doily, Oil on Wood, Artist Frame
62 cm x 82 cm

Darlings Between Fires are layered oil paintings with piña fabric and table doilies, presented as outputs of the artists' ongoing research on the post-colonial Filipino identity.

The images are based on archival photographs of Filipinos in Mindanao during the Pacific War, when Japanese immigrants lived alongside locals. Historically, photographs are considered factual evidence. This ongoing research continues to suspect photography as a historical truth-teller, as documents demonstrate certain biases. The Japanese archives depict harmony and coexistence, while American soldiers’ images reveal brutality and atrocity, while journals and collected mementoes of Filipino prisoner Conrado Gar Agustin offer personal fragments.

These conflicting accounts expose recorded history as partisan and varying. The series embraces this tension, weaving delicate truths into complex images of memory.

Glory is a sculpture that draws parallels between the photo booth and the confessional booth, continuing an inquiry into religion and photography as instruments of biased truth. As its surface bears smearing traces of opaque materials, its typology transforms intimacy into a tense power dynamic. In Glory, the camera transforms into a god and the subject into a sinner, eventually allowing space for submission and salvation, absolution and penance.

Glory, 2025
Augustine Paredes with Hangping Yang and Amanda Assaley
Capiz Shell Powder, Cement, Acrylic, Piña on Wood
150cm x 50 cm x 200 cm

Until eventually, I become you 2026
(After Conrado Gar Agustin's Men and Memories in Confinement')
Oil, Capiz, acetone, Piña, and Burn marks on Glass, Photographic print
70cm x 80cm

Pure Pleasure (1 to 6), 2026
Edition of 1 + 1 AP
Photographic Prints
60 cm x 80 cm

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Gently Bruised, Softly Burned