Culture
Poetry, Partition, and the Politics of Touch: Augustine Paredes on Gulf Futurism
"My way of making art has always been this quiet social activism” - Augustine Paredes
18.06.25
/
10 min.
by
Freedom Studio
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Dubai-based Filipino artist Augustine Paredes’ practice takes many forms as he searches for a new language to express desire through the lens of loss, love and longing. His work is deeply personal and through mediums such as photography, poetry, painting and large-scale installations, he tells the story of a young migrant trying to take up space in a world that can be cold and unmoving.
We caught up with Paredes to talk about his §rocess, art as politics, his thoughts on ‘Gulf Futurism’ and his fondness for the art scene in the UAE.
Freedom: You do many things, you're not just a painter or a photographer. Which medium is your favourite?
Augustine: I got into the arts because I loved photography and I loved fashion. But at some point photography did not feel enough. Then I started incorporating poetry and bookmaking, painting and voice recordings. My story as a human being is multi-layered and so are the stories I want to tell. I want my art to keep evolving, not only in terms of medium but in terms of narrative, as I develop and evolve as a person.
Freedom: We'd love to know more about your creative process.
Augustine: The process isn't very clear, but it starts with introspection. Most of the time I observe the world outside of me and then situate myself at the centre of it. Not because I'm selfish or I'm narcissistic, but because it's more authentic to tell stories if it comes from within. Rather than look outside and describe what's happening.
Freedom: Between social, personal and commercial commentary, what's most important to you in your storytelling?
Augustine: For me personal is political. There is no way around it. My way of making art has always been this quiet social activism. How I exist and how I make art to tell my story, is commenting on the society that's around me. Through my work I'm learning a new language of migration of loss of loneliness, hoping it will resonate with people that are also going through the same thing. But also it talks about being queer in a country where it is illegal to be queer. Personal is political, and I make a lot of personal work but it stands for something.
Freedom: Our bodies are very political, as difficult as it is for people to understand what that means because they don't know that about themselves.
Augustine: For me, it's any form of going against the grain and living life. Our pure existence in a world where we're told we can't be. It starts from there.
There were two extremes that I knew about living in Dubai. One the labour camps and on the other end are the fancy Marina ladies. There wasn't art about life in partitions and bed spaces and all these other experiences. I thought why aren't people talking about it? It's because no one has because no one is there to. So, I thought might as well put some representation there. Then that was it, my origin story.
It worked because I lived that life and somehow a boundary was pushed. It's not illegal to talk about it anymore because, over time, the boundaries have been pushed, little by little. That's how activism works right? It's about inspiring something. Not to change the world but to just talk about it.
Freedom: On the back of that, how do you feel about the UAE's art scene now? Do you think it's opening up more and people are willing to listen to more stories?
Augustine: I think the UAE art scene has become more inclusive. More accepting of vulnerability. It is no longer just Arab and Middle Eastern voices being platformed but includes a lot more South Asian and South East Asian voices and that's great. When I came in 2016, I wouldn't see a Filipino name exhibited and now there are a lot, like Pacita Abad in Art Jameel. Recognizing that there are a lot of nationalities in the city whose stories are worthy of being platformed. I'm proud of Dubai in that regard. Abu Dhabi is on another level because they have been bringing in and exhibiting artists from the Philippines and around the world.
It's a big thanks to the curators who push boundaries no matter how big or small. And the people, it's not only these institutions but the people who accept these stories.
Freedom: With that in mind, how would you define 'Gulf Futurism' and how did you express that in your work?
Augustine: The world needs to unlearn all its ways, but because that is impossible, I think what will happen in the future is we will still have our different identities. I see it as a more connected difference. By holding each other and accepting these differences, we will progress.
I identified the separation and the differences between human bodies and portrayed them in different hues of blue and pink. I tied (the knots) to create this symbolism of togetherness. How I tied the knots to create the fence was a very poetic process. It took a lot of strength, technique and ways of pulling and pushing the knots to create this one-of-a-kind piece. Making sure all these knots were big enough for a hand or two to reach through the other side. To signify and symbolize this holding and this embrace. This pushing and pulling of two bodies.
The poetry of 'Hold Me Through This Hold Me' is asking for touch. It's asking for this human embrace. It's so vague but so clear at the same time. It talks of the installation. It talks about the times. It's just holding through, and I feel like that's what is going to happen in the Gulf in the future. We'll just keep holding each other through all of this.
Freedom: It's super hopeful! Considering all the doomsday around us.
Augustine: It's not naive hopefulness. The last thing I want to be perceived as is naive. The piece is not naive or innocent or created just because. It was created to make an impact, that's accessible and also open. There is always a lot of accountability that is asked of my work. We're getting to a point where everyone is getting held accountable for whatever their vision is. Whatever their feelings are. There is accountability for the artist and also for the viewers.
Freedom: Any upcoming artists we should check out that are coming from the scene?
Augustine: An upcoming curator you should check out is Anna Bernice from the Philippines. We started Sa Tahanan Collective together, which focuses on Filipino creatives both in and outside of the Gulf. Another Filipino artist that I am excited to see is Sonchauni. They are a DJ working at Flipside and they're making a lot of art and illustrations which are great. Sonchauni helped me make this (Freedom. Presents)piece.
Freedom: Is there anything you are most excited to see or experience? What's next for Augustine?
Augustine: I'm excited about this work and excited to be in Saudi for my residency. I can't talk about the projects I'm working on, but I am excited to rest and study fine arts in April. I'm also excited about 'Paradise 4 Ever' because we'll have programming when I'm back in January. And a publication maybe? But we'll see about that.
Connect with the Augustine
@augustineparedes
augustineparedes.com
Dubai-based Filipino artist Augustine Paredes’ practice takes many forms as he searches for a new language to express desire through the lens of loss, love and longing. His work is deeply personal and through mediums such as photography, poetry, painting and large-scale installations, he tells the story of a young migrant trying to take up space in a world that can be cold and unmoving.
We caught up with Paredes to talk about his §rocess, art as politics, his thoughts on ‘Gulf Futurism’ and his fondness for the art scene in the UAE.
Freedom: You do many things, you're not just a painter or a photographer. Which medium is your favourite?
Augustine: I got into the arts because I loved photography and I loved fashion. But at some point photography did not feel enough. Then I started incorporating poetry and bookmaking, painting and voice recordings. My story as a human being is multi-layered and so are the stories I want to tell. I want my art to keep evolving, not only in terms of medium but in terms of narrative, as I develop and evolve as a person.
Freedom: We'd love to know more about your creative process.
Augustine: The process isn't very clear, but it starts with introspection. Most of the time I observe the world outside of me and then situate myself at the centre of it. Not because I'm selfish or I'm narcissistic, but because it's more authentic to tell stories if it comes from within. Rather than look outside and describe what's happening.
Freedom: Between social, personal and commercial commentary, what's most important to you in your storytelling?
Augustine: For me personal is political. There is no way around it. My way of making art has always been this quiet social activism. How I exist and how I make art to tell my story, is commenting on the society that's around me. Through my work I'm learning a new language of migration of loss of loneliness, hoping it will resonate with people that are also going through the same thing. But also it talks about being queer in a country where it is illegal to be queer. Personal is political, and I make a lot of personal work but it stands for something.
Freedom: Our bodies are very political, as difficult as it is for people to understand what that means because they don't know that about themselves.
Augustine: For me, it's any form of going against the grain and living life. Our pure existence in a world where we're told we can't be. It starts from there.
There were two extremes that I knew about living in Dubai. One the labour camps and on the other end are the fancy Marina ladies. There wasn't art about life in partitions and bed spaces and all these other experiences. I thought why aren't people talking about it? It's because no one has because no one is there to. So, I thought might as well put some representation there. Then that was it, my origin story.
It worked because I lived that life and somehow a boundary was pushed. It's not illegal to talk about it anymore because, over time, the boundaries have been pushed, little by little. That's how activism works right? It's about inspiring something. Not to change the world but to just talk about it.
Freedom: On the back of that, how do you feel about the UAE's art scene now? Do you think it's opening up more and people are willing to listen to more stories?
Augustine: I think the UAE art scene has become more inclusive. More accepting of vulnerability. It is no longer just Arab and Middle Eastern voices being platformed but includes a lot more South Asian and South East Asian voices and that's great. When I came in 2016, I wouldn't see a Filipino name exhibited and now there are a lot, like Pacita Abad in Art Jameel. Recognizing that there are a lot of nationalities in the city whose stories are worthy of being platformed. I'm proud of Dubai in that regard. Abu Dhabi is on another level because they have been bringing in and exhibiting artists from the Philippines and around the world.
It's a big thanks to the curators who push boundaries no matter how big or small. And the people, it's not only these institutions but the people who accept these stories.
Freedom: With that in mind, how would you define 'Gulf Futurism' and how did you express that in your work?
Augustine: The world needs to unlearn all its ways, but because that is impossible, I think what will happen in the future is we will still have our different identities. I see it as a more connected difference. By holding each other and accepting these differences, we will progress.
I identified the separation and the differences between human bodies and portrayed them in different hues of blue and pink. I tied (the knots) to create this symbolism of togetherness. How I tied the knots to create the fence was a very poetic process. It took a lot of strength, technique and ways of pulling and pushing the knots to create this one-of-a-kind piece. Making sure all these knots were big enough for a hand or two to reach through the other side. To signify and symbolize this holding and this embrace. This pushing and pulling of two bodies.
The poetry of 'Hold Me Through This Hold Me' is asking for touch. It's asking for this human embrace. It's so vague but so clear at the same time. It talks of the installation. It talks about the times. It's just holding through, and I feel like that's what is going to happen in the Gulf in the future. We'll just keep holding each other through all of this.
Freedom: It's super hopeful! Considering all the doomsday around us.
Augustine: It's not naive hopefulness. The last thing I want to be perceived as is naive. The piece is not naive or innocent or created just because. It was created to make an impact, that's accessible and also open. There is always a lot of accountability that is asked of my work. We're getting to a point where everyone is getting held accountable for whatever their vision is. Whatever their feelings are. There is accountability for the artist and also for the viewers.
Freedom: Any upcoming artists we should check out that are coming from the scene?
Augustine: An upcoming curator you should check out is Anna Bernice from the Philippines. We started Sa Tahanan Collective together, which focuses on Filipino creatives both in and outside of the Gulf. Another Filipino artist that I am excited to see is Sonchauni. They are a DJ working at Flipside and they're making a lot of art and illustrations which are great. Sonchauni helped me make this (Freedom. Presents)piece.
Freedom: Is there anything you are most excited to see or experience? What's next for Augustine?
Augustine: I'm excited about this work and excited to be in Saudi for my residency. I can't talk about the projects I'm working on, but I am excited to rest and study fine arts in April. I'm also excited about 'Paradise 4 Ever' because we'll have programming when I'm back in January. And a publication maybe? But we'll see about that.
Connect with the Augustine
@augustineparedes
augustineparedes.com
Dubai-based Filipino artist Augustine Paredes’ practice takes many forms as he searches for a new language to express desire through the lens of loss, love and longing. His work is deeply personal and through mediums such as photography, poetry, painting and large-scale installations, he tells the story of a young migrant trying to take up space in a world that can be cold and unmoving.
We caught up with Paredes to talk about his §rocess, art as politics, his thoughts on ‘Gulf Futurism’ and his fondness for the art scene in the UAE.
Freedom: You do many things, you're not just a painter or a photographer. Which medium is your favourite?
Augustine: I got into the arts because I loved photography and I loved fashion. But at some point photography did not feel enough. Then I started incorporating poetry and bookmaking, painting and voice recordings. My story as a human being is multi-layered and so are the stories I want to tell. I want my art to keep evolving, not only in terms of medium but in terms of narrative, as I develop and evolve as a person.
Freedom: We'd love to know more about your creative process.
Augustine: The process isn't very clear, but it starts with introspection. Most of the time I observe the world outside of me and then situate myself at the centre of it. Not because I'm selfish or I'm narcissistic, but because it's more authentic to tell stories if it comes from within. Rather than look outside and describe what's happening.
Freedom: Between social, personal and commercial commentary, what's most important to you in your storytelling?
Augustine: For me personal is political. There is no way around it. My way of making art has always been this quiet social activism. How I exist and how I make art to tell my story, is commenting on the society that's around me. Through my work I'm learning a new language of migration of loss of loneliness, hoping it will resonate with people that are also going through the same thing. But also it talks about being queer in a country where it is illegal to be queer. Personal is political, and I make a lot of personal work but it stands for something.
Freedom: Our bodies are very political, as difficult as it is for people to understand what that means because they don't know that about themselves.
Augustine: For me, it's any form of going against the grain and living life. Our pure existence in a world where we're told we can't be. It starts from there.
There were two extremes that I knew about living in Dubai. One the labour camps and on the other end are the fancy Marina ladies. There wasn't art about life in partitions and bed spaces and all these other experiences. I thought why aren't people talking about it? It's because no one has because no one is there to. So, I thought might as well put some representation there. Then that was it, my origin story.
It worked because I lived that life and somehow a boundary was pushed. It's not illegal to talk about it anymore because, over time, the boundaries have been pushed, little by little. That's how activism works right? It's about inspiring something. Not to change the world but to just talk about it.
Freedom: On the back of that, how do you feel about the UAE's art scene now? Do you think it's opening up more and people are willing to listen to more stories?
Augustine: I think the UAE art scene has become more inclusive. More accepting of vulnerability. It is no longer just Arab and Middle Eastern voices being platformed but includes a lot more South Asian and South East Asian voices and that's great. When I came in 2016, I wouldn't see a Filipino name exhibited and now there are a lot, like Pacita Abad in Art Jameel. Recognizing that there are a lot of nationalities in the city whose stories are worthy of being platformed. I'm proud of Dubai in that regard. Abu Dhabi is on another level because they have been bringing in and exhibiting artists from the Philippines and around the world.
It's a big thanks to the curators who push boundaries no matter how big or small. And the people, it's not only these institutions but the people who accept these stories.
Freedom: With that in mind, how would you define 'Gulf Futurism' and how did you express that in your work?
Augustine: The world needs to unlearn all its ways, but because that is impossible, I think what will happen in the future is we will still have our different identities. I see it as a more connected difference. By holding each other and accepting these differences, we will progress.
I identified the separation and the differences between human bodies and portrayed them in different hues of blue and pink. I tied (the knots) to create this symbolism of togetherness. How I tied the knots to create the fence was a very poetic process. It took a lot of strength, technique and ways of pulling and pushing the knots to create this one-of-a-kind piece. Making sure all these knots were big enough for a hand or two to reach through the other side. To signify and symbolize this holding and this embrace. This pushing and pulling of two bodies.
The poetry of 'Hold Me Through This Hold Me' is asking for touch. It's asking for this human embrace. It's so vague but so clear at the same time. It talks of the installation. It talks about the times. It's just holding through, and I feel like that's what is going to happen in the Gulf in the future. We'll just keep holding each other through all of this.
Freedom: It's super hopeful! Considering all the doomsday around us.
Augustine: It's not naive hopefulness. The last thing I want to be perceived as is naive. The piece is not naive or innocent or created just because. It was created to make an impact, that's accessible and also open. There is always a lot of accountability that is asked of my work. We're getting to a point where everyone is getting held accountable for whatever their vision is. Whatever their feelings are. There is accountability for the artist and also for the viewers.
Freedom: Any upcoming artists we should check out that are coming from the scene?
Augustine: An upcoming curator you should check out is Anna Bernice from the Philippines. We started Sa Tahanan Collective together, which focuses on Filipino creatives both in and outside of the Gulf. Another Filipino artist that I am excited to see is Sonchauni. They are a DJ working at Flipside and they're making a lot of art and illustrations which are great. Sonchauni helped me make this (Freedom. Presents)piece.
Freedom: Is there anything you are most excited to see or experience? What's next for Augustine?
Augustine: I'm excited about this work and excited to be in Saudi for my residency. I can't talk about the projects I'm working on, but I am excited to rest and study fine arts in April. I'm also excited about 'Paradise 4 Ever' because we'll have programming when I'm back in January. And a publication maybe? But we'll see about that.
Connect with the Augustine
@augustineparedes
augustineparedes.com
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