The Ruins of Sodom and Gomorrah: From Memory to Oblivion, Paintings, and Engravings

Joel Audefroy, La intercesión de Abraham

By Rita Pascacio

 

Who knows the white but

stays in the black is the

measure of the world

—Tao-Tö-King

 

We present a plastic artist who seems to try to exorcise his knowledge, doubts, aptitudes, and concerns around biblical myths, using his architectural knowledge, as he is, in fact, an architect.

“What worries you?” one would ask. This series of paintings called The Ruins of Sodom and Gomorrah account for their imagination, combined with existential concerns, perhaps an allegory of the city.

He uses black, with gray shades and a slight white tone, to deepen the myth. The acrylic paintings are all black and white; the colors are absent, perhaps as in a film to mark the past. The prints are in monochrome.

There is also rationality in his work that is disturbed by his architectural skills, making and imagining constructions impossible to perform. Or is it that both rational thought, combined with imagination—and at the same time a certain “mockery” of myth, morality, or premonition—are mixed together, since he began to paint these canvases before the earthquakes of September 2017?

What is certain is that their fascination with the ruins shows a deep reflection on the symbolism and allegory that these represent and have represented for many other artists throughout history: François de Nome, alias Monsù Desiderio (1593–1654), Giovanni-Battista Piranesi (1720–1778), and John Martin (1789–1854).

 

Art Opening

The Ruins of Sodom and Gomorrah

Work from Joel Audefroy

Sat, Nov 18, 4:30pm

Galería Gerardo Ruíz

Fábrica La Aurora, House 4E

 

 

 

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