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Unfortunately this is a misleading title, as we never really had the chance to even ask a single question to Miss Peacock Lady, known for her glacial voice, futuristic sounds… and pompous outfits.

Interview with the peacock lady by Sharona Eliassaf (all images by Sharona Eliassaf)

Lady Peacock, like lady bla bla are representatives of modern extravaganza, and Sharona Eliassaf is much of an expert at representing these yobby artists. It could be lady gaga, the same way it could be a rock star from the 80s, always flashy, always surreal… always artificial.

Woo by by Sharona Eliassaf (all images by Sharona Eliassaf)

Because not only lights and shadows don’t seem natural in Eliassaf’s paintings, they belong to another era, maybe a parallel universe… maybe that of He-Man, because as you probably know there are many other universes, is just that we can’t see them, but they exist, and Sharona gets a sneak peak from time to time before capturing those moments in her NY studio.

The half-American, half-Israeli artist had her first NY museum exhibition earlier this year @ Queens International, and her 2012 piece “Courtship during an earthquake” is currently competing @ Saatchi’s latest on-line showdown. We really hope her subtle sexual intercourse representation grabs many votes…. earthquakes have these things, it’s inevitable.

Untitled by Sharona Eliassaf (all images by Sharona Eliassaf)

Joseba’s oil paintings are beautifully painful. An omnipresent sense of restricted pain willing to go out through those plastic deformities. Are they monsters? Aftermath landscapes? Visceral still life?

This Bilbaino (Basque Country) focuses on what “used to be” applying colour layer after layer to rigid & organic structures. Lonely buildings, lonely giants looking at us from an uncertain horizon clearly differentiating heaven and earth… or hell we must add.

Thick, rich, heavy compositions of disgusting human waste playing with our senses and maybe trying to create a rarefied atmosphere. When do all this events take place?

The stage in front of us seems to be uninhabited and send us towards our own anxiety. If what we are looking at is the debris, it is because we have necessarily arrived after the happening of what happened, i.e. in a future. In a skinned, flayed, fleshless bony future (deprived of its flesh). Once again, some sort of relationship with privileged baroque places, beyond vanities, places that were ruins and also the library. Places that set in present time hold each one likewise their part of memory and their part of future melted and cast together (fundidos) as well as mixed up (confundidos). I.e. the dream of this image as given to us, is given as a premonitory dream, and being some sort of foreboding, the fundamental fear of which I have talked before takes the rudder helm fast in its hands again, till it is evacuated, thinned down and spread out over the painted surface. Once and again. (text by Juan Mendizabal)

His flickr page is a bloody rude goldmine, and so is his Saatchi Online profile where he’s one of the week’s selected artists.