“Where were you when the World Trade Center was hit?” This is probably one of the most common questions people ask when referring to the tragedy of Sept. 11. By juxtaposing illusion and reality in his artwork, Jules de Balincourt poses new questions about such a tragic event in American history: Why did it happen and what now? De Balincourt provides a unique perspective about the trauma that pervaded the United States post-9/11, as well as other contemporary concerns within the country.
The Fine Arts Gallery’s exhibition displays some of de Balincourt’s most recent and unseen artwork. Many of these newer pieces are representations of an outsider’s viewpoint on American social and political issues. Although de Balincourt was born in Paris in 1972, he immigrated to suburban California at an early age, which puts him in a unique position to view American culture from both inside and out.
“The fact that he never fully integrated into any subculture became a seminal influence on his subsequent work as an artist,” said Joseph Whitt, curator of the exhibition. “It afforded him a unique viewpoint from which to explore what he would later describe as America's ‘Utopian Dystopia.’ Because Americans were deprived of the comfort of national security and their loved ones, post-9/11 was a time of fear and suffering for many people. Until that fateful day, most of the United States had lived in oblivion to the outside world. Some of de Balincourt’s artwork focuses precisely on this issue.
“The works in this exhibition are presented in the shadow of one of the most gripping political seasons in our nation's history. In addition to providing a primer for anyone new to de Balincourt's practice, they also posit a chronology of open-ended questioning that indirectly mirrors the progress of American paranoia after 9/11,” Whitt said.
The painting “Leisure Land” depicts a quiet drive through the countryside. At first glace, the name and the soothing blue tones prevent the audience from being aware of the background scene. However, a closer examination shows that a broken dam is flooding the seemingly peaceful town.
De Balincourt recreates the same quiet horror of that audience who witnessed the destruction of the Twin Towers seven years ago. In “Blind Faith and Tunnel Vision,” de Balincourt seems to juxtapose dreary destruction with colorful rays bursting out.  This could symbolize hope and optimism even in the face of great tragedy.
According to Whitt, “de Balincourt's work has been exhibited at many leading international galleries and museums.” This includes the Musee d’Art Moderne and the Palais de Tokyo, both located in Paris. Stateside, his art has appeared in the Brooklyn Museum and the Museum of Contemporary Art in Los Angeles among others.  His exhibit at Vanderbilt will be up until Dec. 5 and is located in the Fine Arts Gallery in the Old Gym. Admission is free.
