The First Art Newspaper on the Net    Established in 1996 Tuesday, September 21, 2021


Galerie Thaddaeus Ropac opens an exhibition of new paintings by Jules de Balincourt
Installation view. Photo: Charles Duprat.



PARIS.- Galerie Thaddaeus Ropac is presenting an exhibition of new paintings by Jules de Balincourt. This latest series of abstract landscapes, initiated over a year ago and finalised during the first half of 2020, express a desire for both physical and emotional escape. Mixing intimate and large formats, many of these paintings convey the soothing presence of nature and manifest the need for a shelter far from the world we live in. Created while Jules de Balincourt was splitting his time between Costa Rica, where he has been living partially for the past 20 years, and Brooklyn, where he has spent the last few months in lockdown, the paintings result from a personal reflection on the possibilities of isolation.

The title of the exhibition ‘There are more eyes than leaves on the trees’ derives from a vernacular Costa Rican proverb, which conveys the notion that as isolated as you may be, everyone is always aware of your doings, even in a small fishing village lost in the jungle. It also suggests the debate surrounding the human domination of nature in a world quickly undergoing ecological collapse.

Jules de Balincourt insists on the purely intuitive construction of his paintings. Working directly on board without preliminary sketches, the artist gradually brings out subconscious maps which are articulated by successive areas of colour. The spatial unity found in his paintings, where the perspective or horizon seems to structure the composition, is constructed in reverse to the usual pictorial scheme. The juxtaposition of bold colours, as well as the luxuriant presence of nature, recalls the visual characteristics that defined turn-of-the-century Primitivism and the Nabis group, while offering a meditation on the meaning of contemporary life. In his unique manner, Jules de Balincourt treats the enveloping pervasiveness of nature to create a sense of intimacy reminiscent of Edouard Vuillard by making the outdoor feeling like interior intimacy scenes.

As Jules de Balincourt states: ‘I was curious to see what would arise when simply painting a painting – pushing painting away from its literal narrative quality. I like the idea of placing the viewer at these crossroads of painting, in which one’s emotive response hovers between rational realism or figuration, on the one hand, and the abstract subconscious or primitive on the other. By presenting a duality between these two ways of thinking and being, these paintings allow the viewer to travel from the conscious and recognisable into the mysterious and unknown.’

The island is a recurring motif that perfectly embodies the ambivalence at work in Jules de Balincourt’s paintings. It connotes ideas of isolationism as well as a more utopian conception of refuge, sanctuary or lost paradise. The island is also a key example of what French philosopher Michel Foucault coined a ‘heterotopia’ to describe certain cultural, institutional and discursive spaces that are somehow ‘other’: disturbing, intense, incompatible, contradictory or transformative. Heterotopias are worlds within worlds, mirroring and yet destabilising what is outside. The porosity between the outside and the inside is a common trope in Jules de Balincourt’s work: interiors are often without walls, overgrown with plants or and disproportionately scaled in a Surrealist manner.

In They Each Had Their Lesson (2020), a giant intrusive hand penetrates the strict architecture of a building composed of nine open cubes which evokes the principles of modernist architecture, drawing a parallel between the normative rules of architecture and Jules de Balincourt’s personal teaching experience in a local school. His bold use of colours contributes to a similarly ambivalent feeling, blurring all proportions and sense of reality in the visual plane. The artist often cites the Impressionists and Post-Impressionists as an important influence on his work. However, the Bay Area figurative painters from the 1960s and 1970s, such as Richard Diebenkorn or Elmer Bischof, had an equally significant role during his formative years, as Jules de Balincourt grew up in California and studied in San Francisco. His work also reveals the influence of 20th-century American modernists who brought the tradition of landscape painting into the field of abstraction, such as Arthur Dove or Milton Avery.

This new series of paintings demonstrates Jules de Balincourt’s newfound interest in the removal of figuration, in a quest for a more spiritual or existential approach to painting. The curved lines shaping the natural landscape in City People and Country Roads (2020) are reminiscent of the composition in Henri Matisse’s celebrated painting The Joy of Life (1905–06). But, where Matisse painted a pastoral fantasy, Jules de Balincourt depicts a more ambiguous scene in which lonely silhouettes do not interact with one another. At times directly political or confrontational, at other moments more introspective, Jules de Balincourt’s work hovers at a crossroads where the possibilities teeter between two very different realities, leaving the viewer to determine their own personal narrative.

Jules de Balincourt, born in Paris, France in 1972, moved to Los Angeles, California with his family in the early 1980s. In 1998 he graduated from the California College of Arts in San Francisco and moved to Brooklyn in 2000. He now lives and works in Brooklyn, New York and a small town in Costa Rica.




Early in his career he participated to emblematic group exhibitions such as Greater New York held at PS1/MoMA (2005); Notre histoire… at the Palais de Tokyo in Paris (2006); Art in America: 300 Years of Innovation at the Guggenheim Bilbao in Spain (2007) and USA TODAY both at The Royal Academy, London (2006) and The Hermitage in St. Petersburg, Russia (2007).

He has held a number of international museum solo exhibitions including Mori Art Museum, Tokyo (2010), Montreal Museum of Fine Arts, Montreal (2013), Rochechouart Museum of Contemporary Art, Rochechouart (2014), The Modern Art Museum of Fort Worth, Texas (2014-2015), Kasseler Kunstverein, Kassel (2015), and recently participated in important collective exhibitions: Rehang, Collezione Maramotti, Reggio Emilia, Italy (2019 - ongoing) , Eldorado 3000 with two exhibitions Les enfants du paradis, MUba Eugčne Leroy Tourcoing and Eldorama, Tripostal, Lille, France (2019). He is currently preparing a solo show opening March 2021 at CAC Málaga, Spain.










Today's News

July 6, 2020

Frederick Douglass, seen up close

Phillips' white glove Evening Sale of 20th Century & Contemporary Art realizes $41,135,750

Kunsthaus Zürich opens 'Smoke and mirrors. The Roaring Twenties'

Simon Lee Gallery, Hong Kong opens an exhibition of new works by Gary Simmons

Galerie Thaddaeus Ropac opens an exhibition of new paintings by Jules de Balincourt

Margaret Morton, photographer at home with the homeless, dies at 71

Marianne Boesky Gallery opens dual-artist exhibition of Thornton Dial and Jasmine Little

Tramaine de Senna installs a new commission in Antwerp's main historic park

The unsung heroes of fashion, now mostly unemployed

Nikolai Fadeyechev, elegant Bolshoi dancer, is dead at 87

Beyond Broadway, the show does go on

Intersect Art and Design announces 100 exhibitors from 26 countries for Intersect Aspen

Berkshires museums announce reopening plans

Italy's outdoor summer movies see threat from ailing film industry

Cure3 announce complete list of participating artists for 2020

Exhibition at Marian Cramer Projects presents an eclectic selection of works by 18 international artists

That healing jazz thing on a porch in Brooklyn

Exhibition of new sculptures and photographs by Cyprien Gaillard on view at Sprüth Magers, Los Angeles

Top Egyptian actor Ragaa al-Geddawy dies from COVID-19

Playing Beethoven's piano sonatas changed how I hear them

James Sherwood, who revived the Orient Express, dies at 86

TarraWarra Museum of Art will reopen with 'Making Her Mark: Selected Works from the Collection'

Inspiration by artist Bennu. Creativity without formulas

Lost and Stolen Paintings Returned to the Fold




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful