Among their projects as Artifist, Caroline and Gaetan Cottereau-Meurée kept a strict daily diet of Peganum Harmala for a year, during which Caroline tattooed Gaetan’s back using neuromediators such as pinoline and ayahuasca under the pigments. The result includes a twisting serpentine form, covered with language and symbolic forms. They discovered that each neuromediator has a specific signature of fluorescence under black light.
Sheila Finch describes in fiction what psychonautic xenolinguists are doing in fact. Their explorations of inner space reflect metaphorically Finch’s story worlds of outer space encounters with the Other.
Jason Tucker on his work: “I actually consider the drawings to be more of a language than art, especially now that they have increased in volume and have taken on a more fluid, anthropomorphic form. . . And it is the experience of this heart, this spirit, this oblique symbolic approach to language that lifts the veil of dogma, and the isolation of being separated from the source.”
Allyson Grey on her work: “In 1975 I began writing automatically in an invented or transmitted language. I do not give meaning to the symbols in my art as it is meaning that separates experience from expression. The alphabet that I use points to the notion of a sacred language beyond meaning.”
After 5 grams dried psilocybe cubensis, Jack Cross experienced “a SUPERNOVA BUTTERFLY made of Liquid Language and Light, and I knew it better than English, better than what I knew as life. I was ALL and NOTHING, a Mandelbrot Buddha laughing in a saffron sky, a Risen Ringmaster in a blazing red jacket throwing a private hierophantic fit. MY circus tent, was Enlightent-ment, expressed as Geometry and Archetype and Alphabet.”
Deena Larson, homeless at 13, created Rose, a secret language to more fully express her feelings, and at the same keep them hidden from others. Rose is based on the Roman alphabet, with visual departures that lead into a labyrinth of meanings.
The Glide symbolic system of moving, morphing glyphs forms mazes in two dimensions and twining serpentine forms in three dimensions. The glyphs make meaning metaphorically, and their meanings shift in various altered states of consciousness.
Sara Huntley writes with fire, paint, and tattoo pigments as she experiments broadly with communications in altered states.