Lucky DeBellevue Paints the Sexy, Tortured Worlds of Rainer Werner Fassbinder

once said, “It isn’t easy to accept that suffering can also be beautiful.” That quote could go a long way in describing the theme of his films. It’s also a handy aphorism to explain why artists with long, established careers continue to experiment and delve into uncharted corners of their studios. New York artistcame to the forefront of the art world with his mesmerizing, weblike network sculptures made out of candy-colored chenille stems in the 1990s.

DEBELLEVUE: I try to be honest. Initially I was thinking of more straight-identified artists, just kind of like, “You guys were always so comfortable showing nude women. Well, what about you?”DEBELLEVUE: Some were real and some were fake. As far as a real one, Frank Stella actually posed nude with one of his paintings. But I did a fake of Gerhard Richter.DEBELLEVUE: I thought so too. Kind of almost like a stereotype of some wiry Bohemian artist.

BOLLEN: Those chenille stem works were exquisite. I always wondered why you stopped making them. With admiration. I always admire when artists are successful with one material and still are willing to go in a totally different direction.BOLLEN: Actually, I have trouble knowing when a relationship is over.

DEBELLEVUE: It really does stem from having a strong desire to do something else. And as long as a material is giving me something that I think feels like what I should be doing, then I go with it. That’s what happened during the pandemic. I was making some work in the vein of using printmaking and pistachio shells. And no matter what I did, it was not working. I don’t know what it is, but I can’t kid myself anymore. And that’s when I started exploring and doing this other work.

BOLLEN: Our mutual friend Judith Eisler is also a painter of films. I know her process involves taking a photograph of a screen, and she captures all the technical disruptions of that process. How did you capture the still film images? DEBELLEVUE: Yeah. I work and live in the same place on the Lower East Side. I’m the old-timer. I’ve been here since the late ’80s.DEBELLEVUE: Yes. That’s what’s keeping me here, for the most part. But no, I actually really love my apartment. Let’s just say I’ve seen the neighborhood really change a lot. Some of it’s good. I kind of wished it was still a little bit more underground or not as discovered, but that’s the story of New York.

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