Izaguirre considers herself a poet/playwright (‘play’ and ‘forge’) at the center of her being. Her practice is rooted in the ongoing research of what constitutes the poetic. With philosophical curiosity about the human person and the spirituality of people from different religions, she delves into the sacred realities of others to find a common poetic experience. This ‘poiesis’ is enriched by the influence of her Nikkei cultural heritage and now that of her interfaith multicultural family.

Izaguirre's work is a testament to her deep understanding and analysis, particularly evident in her exploration of the influence of the Japanese mind in her work. This was showcased in her study of Eielson's work through the lens of Haiku poetry, a scholarly endeavor presented at the International Congress' The Infinite Face of Jorge Eduardo Eielson' in 2021, organized by prestigious institutions such as the King's College in London, Universidad Católica del Perú and Centro Studi Jorge Eduardo Eielson. Her research endeavours have been recognized by the Roger Scruton Legacy Foundation at the 2024 'A New Path For Beauty' Conference at Peterhouse, Cambridge University, where she was awarded a fellowship opportunity to discuss her work and get feedback from Oxbrigde faculty.

Izaguirre's studies in Production Design for Theatre have not only enriched her artistic practice but also demonstrated the practical application of her skills. Taking methodologies from dramaturgical activities such as the elaboration of a ‘premise’, ‘seed of the play’, script analysis and costume design, incorporating them in her work, in order to build structures of meaning from the inside out.

In relation to the creation of images and the pictorial, and with an almost mystical devotion to the medium of painting, Izaguirre’s work dialogues with history exploring what it means to paint in the era of social media content, artificial intelligence and imagery saturation. She seeks to answer whether painting can contain the gravity and weight of the most tangible aspects of reality.

Painting is revered in and of itself and not seen as an instrument for something else. Izaguirre’s sensibilities resonate with that of Chinese/Japanese calligraphy and painting as well as with Flemish painting, lately studying the praxis of icon writing and medieval illuminations in order to find a sense of prayer or spirituality in the action of painting itself, connecting with the Haiku idea of ‘crystalizing’ an ‘essence’ to make concrete visual poetry.