Museum Weisbaden — Augustine Paredes

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

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