For nearly two decades, Iesrael Woldemichael has carved a name for himself in the world of Neurographic art. The 48-year-old painter, born in the heart of Piassa in 1977, has spent a lifetime translating emotion and struggle into vibrant strokes of color.
His artistic journey began at the age of five when he enrolled at Lycée Gebre-Mariam, where his natural inclination toward painting first took shape. As a self-taught artist, Iesrael honed his skills through school competitions and personal experimentation, painting with an intensity that set him apart even in his early years.
By the time he reached secondary school, his passion for art had become undeniable. But convincing his mother to support his artistic aspirations proved difficult. She dismissed the idea outright, fearing that a career in painting would lead to nothing but hardship.
“My mother believed that even Ethiopia’s most renowned painters, like Afework Tekle and Gebrekirstos Desta, struggled to find success,” he recalls. “She insisted that I focus on a ‘proper’ education instead of chasing a dream she thought was futile.”
Despite his determination, Iesrael’s academic scores fell short of the requirements for Ethiopian universities. Seeking opportunities elsewhere, he took on various jobs abroad to support himself, yet the call of art never faded.
In 2004, upon returning to Ethiopia, he learned of the newly opened Abyssinia Art School in Addis Ababa. With his mother’s reluctant approval, he enrolled, determined to formalize his talent. After completing his training, he was poised to establish himself as a professional painter—until an unexpected tragedy altered the course of his life.
One evening in 2006, just two years after celebrating his graduation with family, Iesrael went to bed envisioning the future he had worked so hard to build. The next morning, he woke up unable to move one of his legs.
Confusion turned into despair as doctors struggled to diagnose his condition. Years passed in search of answers, with visits to hospitals both in Ethiopia and abroad yielding no solution. Hope dwindled, and darkness consumed him.
But amid the uncertainty, one person remained steadfast—his high school sweetheart, who later became his wife. With her unwavering support, Iesrael found his way back to the canvas.
“I had convinced myself that I had no future in art,” he told The Reporter. “But my wife’s encouragement gave me strength. Now, I have more time to paint, and I’m on a journey of discovery, allowing creativity to flow in ways I never imagined.”
Since his diagnosis, Iesrael has produced hundreds of Neurographic paintings, drawing the attention of both local and international collectors.
Now, his work is featured in an exhibition organized by KIN Art Centre, a share company near St. Mary’s Church, where he is also a shareholder. The month-long exhibition, which opened on February 20, serves a dual purpose—not only showcasing his work but also raising funds for his medical treatment in Qatar.
Among the 30 pieces he has selected for the show, five have already been sold to buyers from Addis Ababa and the Ethiopian diaspora.
A Gallery of Resilience
Upon entering the gallery, visitors are immediately enveloped in a world of swirling lines, vibrant colors, and intricate patterns—hallmarks of Iesrael’s Neurographic art. His paintings, arranged meticulously along the walls, reflect life’s wonders, struggles, and triumphs.
At the forefront of the exhibition are pieces such as Mother in Love, an intimate portrayal of maternal affection, and Keras Belay, a striking depiction of women gracefully balancing vases on their heads. Other works explore themes of deep friendship and feminine elegance, including a portrait of a woman with a distinctive Afro hairstyle.
Near the entrance, two standout paintings immediately command attention: Hyloga, capturing the movement and spirit of traditional Ethiopian dance, and Day Dream, an introspective work that delves into life’s complexities. To the right, the gallery’s most visually elaborate wall comes into view, illuminated by a series of paintings bursting with intricate artistic patterns. Among them, Yalfal draws particular interest—it confronts the horrors of the COVID-19 pandemic while offering a glimmer of hope for a brighter future.
Further inside, the paintings Kefita and Kegarawelay (translated as Over the Hills) take center stage, symbolizing the pursuit of a better life and the universal human desire for meaning. The immersive experience extends beyond the artwork itself, as visitors are invited to partake in a traditional Ethiopian coffee ceremony, adding warmth to the exhibition’s ambiance.
Iesrael’s paintings vary in size, ranging from 50×70 cm to 60×80 cm, with many spanning approximately one meter by one meter. Each piece carries a price tag between 30,000 and 100,000 birr—a reflection of both their artistic value and the urgent purpose behind the exhibition.
“Since this exhibition is a fundraiser for my medical treatment, I’ve priced the paintings reasonably,” he said, expressing deep gratitude to those who have already purchased his work.
Yet, despite the exhibition’s significance, turnout has been lower than expected. Iesrael attributes this to a lack of awareness about the event’s purpose and the relatively new status of the gallery.
“I think many people don’t realize that this is a fundraiser,” he said. “And the gallery itself is still unfamiliar to some art lovers. But I remain hopeful that we will see more visitors before the exhibition ends.”
He noted that while middle-aged and older visitors have shown interest, and renowned painters have attended in support, the event has yet to reach its financial goal. To bridge the gap, he plans to organize additional exhibitions across the capital, both to raise funds and to increase awareness about his work and health condition.
Despite his established reputation in the art scene, Iesrael’s health remains a pressing concern. He spoke candidly about his frustration, emphasizing the urgency of receiving proper medical treatment.
“The longer I wait, the harder it becomes to continue my work,” he said.
Adding to the challenge is the gallery’s location, which he believes has made it difficult to attract larger crowds. To that end, he says he has formally requested the city administration to provide him with a suitable space closer to his home—both as an exhibition venue and a dedicated studio.
“I currently work from home,” he explained. “I’ve asked the city administration for a more accessible space, but I haven’t received a response yet. They have recognized my contributions before, awarding me various certifications and inviting me to their programs. I hope they will also support me in this.”
One visitor, an admirer of Neurographic art who requested anonymity, shared her appreciation for Iesrael’s talent and urged others to support him.
“I’ve followed his journey for years, and his work is simply amazing,” she said. “This isn’t about charity—it’s about preserving an extraordinary artistic talent. If people want to help, now is the time. He is so close to accessing better medical care, and with enough support, he will only continue to flourish.”
Iesrael himself remains hopeful. He calls on art lovers, philanthropists, and anyone with a humanitarian spirit to visit the gallery and take home a piece of his story.
“I just want more people to come,” he said.
Neurographic art, the medium through which Iesrael has found renewed purpose, is more than just a visual style—it is a form of therapy. The technique involves drawing free-flowing, organic lines, known as “neuro lines,” and rounding their intersections to create an intuitive, subconscious connection between the mind and emotions. This process, often complemented by the addition of shapes and colors, is believed to stimulate neural pathways, reduce stress, and promote emotional healing.
For Iesrael, that healing is still in progress.
