ARTTYCO TALKS
Izzy reflects on synesthesia, intuition, and the spiritual energy that shapes her luminous world.
ARTTYCO TALKS |
EPISODE #23: IZZY WEISSGERBER
1. Your synesthesia allows you to experience color, emotion, sound, and energy as one unified language. How does this sensory overlap shape the way a painting begins for you, and how do you translate those internal sensations onto the canvas?
I: For me, a painting always begins long before I touch a brush. I see the full artwork in my mind immediately — the colors, the structure, the atmosphere. When I meet a person, or even just sense an energy, I instantly know the palette. My synesthesia makes emotions visible to me; I “hear” color, I feel music as texture, and I sense frequency in gradients.
At night I dream in color — entire cities, architecture, shapes, movements. I dream paintings before they exist, which is why translating them onto canvas feels natural. I don’t create from concept; I create from intuition.
My world is color. My world is aesthetics. My world is architecture and minimalism and emotion woven into one visual language. Painting is simply the act of bringing that inner world into physical form.
2. Your work moves between the spiritual and the sensual, the visible and the invisible. What guides you when deciding how much to reveal and how much to leave unseen?
I: In my work, what is hidden is just as important as what is shown. Some energies want to be witnessed, others want to stay protected — and I always feel that balance intuitively. I never want to over-explain or reveal everything, because mystery is a form of power. The unseen creates space for the viewer’s own story, their own emotion, their own memory.
I guide the viewer, but I never control their experience. My paintings breathe because there is always something left unsaid — a frequency that stays in the realm of intuition. For me, that’s where the magic happens.
3. You’ve spoken about your art as an emotional channel — a place where feeling becomes color and color becomes presence. What emotional states or inner landscapes do you return to most in your practice?
I: I am always drawn to transitions — the emotional spaces where something is shifting or becoming something else. The moment before clarity. The moment before release. The moment where longing meets realization.
These are the frequencies I work with. Not fixed emotions — but movement. Thresholds. The in-between.
My color combinations reflect that. Color Theory is my life; harmony and tension between tones are like a second nature to me. Through color, I express the internal landscapes I’ve lived with since childhood. Painting for me is meditation, breath, and dream at once. Without it, I’m not complete.
4. A pivotal moment in your career was Joe Dallesandro commissioning you after seeing himself reflected in your work. How did that encounter shape your sense of lineage and your place in the artistic conversation?
I: That moment was surreal — because Joe D’Alessandro isn’t just a muse, he’s Andy Warhol’s muse, part of one of the most iconic eras in art history.
We all know the story of Warhol, and the energy behind that world. To have someone like Joe recognize himself in my work created an immediate, powerful connection — almost like our artistic frequencies aligned. It made me understand that my work carries its own place in the lineage of contemporary art. I’m not following anyone’s footsteps; I’m contributing my own visual language.
That encounter showed me that what I do resonates beyond generations, beyond time, beyond context. It anchored me in the understanding that I’m exactly where I need to be — creating work that speaks to people on a deeper energetic level.
5. Your paintings have been described as experiences rather than images — almost like energetic portals. What do you hope viewers feel or awaken within themselves when they stand before your work?
I: I want people to feel something real — something they might have forgotten they’re capable of feeling. My paintings are not just visuals; they are emotional atmospheres. They are energy translated into form. Architecture, color, frequency, dream, soul — all held in one space.
Each piece carries my intention, my presence, and a part of my spirit. I want viewers to step into the work and connect with themselves. If one of my paintings opens a doorway to intuition, memory, healing, or inspiration — then the portal is working.
