Albert Porta adopted the identity Zush in 1968 and replaced it with Evru in 2001. “ Evru ” expressed his self-conception as an artist, scientist and mystic . Rather than treating these names as ordinary pseudonyms, he used them as successive creative identities, each capable of producing a different world and mode of perception. He remained Evru until his death in September 2025.
His work is best understood as the construction of a personal symbolic civilization . He created the imaginary Evrugo Mental State , with its own mythology, inhabitants, language, alphabet, emblems, currency and forms of citizenship. Its invented script, Asura , allowed writing to operate visually without imposing a conventional verbal meaning on the viewer.
Across drawings, paintings, artist’s books, prints, photography, holography, sound and digital media, he repeatedly explored:
- mutable and multiple identity;
- invented writing and private languages;
- the body and brain as landscapes;
- the boundary between reason and hallucination;
- tension between compositional order and organic chaos;
- art as a therapeutic or transformative practice;
- interaction between human imagination and technology.
MACBA characterizes his work as an autobiographical mythology containing parallel universes in which rational structure only just keeps chaos under control. He also resisted the sacred image of the solitary artist and regularly collaborated with writers, designers and musicians.
Why he is relevant to CGS
The strongest relationship is not merely visual resemblance. It is the idea that a symbolic language can generate an uninhabitable world .
In Evru’s work, the symbols, invented words, maps and organisms do not illustrate a pre-existing story. Together they constitute the Evrugo Mental State. In CGS, the glyphic plates similarly function as an autonomous body whose forms generate laws, transformations and eventually consciousness.
There are several close parallels:
Identity as transformation. Albert Porta, Zush and Evru are successive creative entities rather than one fixed authorial person. CGS similarly divides consciousness into Gala and Salvador without reducing either to a simple character.
Writing as visual organism. Asura is simultaneously language, image and psychic trace. CGS treats glyphs as relational and operative structures rather than as a conventional alphabet.
The internal world becomes external territory. Evru converted psychological experience into a state with geography, institutions and citizens. CGS allows the internal architecture of the Protocols to expand into Barcelona.
The viewer participates. His later interactive and digital projects questioned fixed authorship and allowed other people to activate the work. CGS gives the reader the mediating role of the Alchemist.
The main difference is that Evru’s symbolic system is strongly autobiographical and deliberately unstable, whereas CGS appears more systematic: its plates have sectors, rings, operations, reading modes and sequential relations.
Printed works most relevant to CGS
1. From Zush to Evru — best conceptual introduction
This is probably the best single publication for research .
From Zush to Evru
State Society for Cultural Action Abroad, 2006
172 pages, Spanish and English Includes two CD-ROMs ISBN 978-84-96008-88-5
It addresses the transition from Zush to Evru and therefore concentrates on the themes most closely related to CGS: transformation of identity, private cosmology, the relationship between psychic and technological worlds, and the combination of art, science and mysticism. The bilingual format is particularly useful for this simultaneous Spanish and English project.
It appears to be out of print through normal retailers , although copies sometimes surface through second-hand booksellers.
2. Zush : La Campanada — best substantial visual survey
Zush : The Bell Ringing,
Museo Nacional Centro de Arte Reina Sofía, 2000. Approximately 373 pages, extensively illustrated. Spanish and English. Hardcover. ISBN 978-84-8026-956-8
This large retrospective catalog is probably the strongest choice for understanding the breadth of his visual universe: bodily forms, invented beings, diagrams, scripts, psychic landscapes and the visual logic of the Evrugo Mental State.
It is especially relevant to CGS if you are studying how repeated symbols can remain recognizable across many works without becoming a rigid conventional language. Copies are currently found mainly through specialist and second-hand sellers, with some listings describing new old-stock copies.
3. Zush’s books — closest to CGS as a book- object
Zush Books
ISBN 978-84-88699-21-3
This publication concerns Zush’s artist’s books and is potentially the closest precedent for the physical and structural character of CGS. His books were not merely containers for reproductions; they were individual symbolic territories in which drawing, invented writing, sequence and material form interacted.
It appears to be rare and currently unavailable through ordinary booksellers, so it may require searching specialist catalogues, antiquarian dealers or museum libraries.
4. Uroxos : Thinkers Yo somiadors — hybrid image and language
Uroxos : Pensadors i somiadors
Circa 2000ISBN 978-84-343-0902-9
This heavily illustrated collaborative publication is relevant for its interaction among imaginary beings, visual language, poetic material and book form. It is less comprehensive than the two major catalogues, but may be valuable when studying how Evru placed symbolic figures and verbal elements into a shared imaginative ecology. It currently appears mainly in second-hand listings.
Recommended priority
For CGS research, I would look for them in this order:
- From Zush to Evru — best for identity, transformation and conceptual framework.
- Zush : La Campanada — best for extensive visual documentation.
- Zush’s books — best for the book as an autonomous symbolic artefact.
- Uroxos — useful supplementary example of hybrid image–text practice.
While searching for the printed catalogues, MACBA’s online collection provides a useful free overview, including sketchbooks such as DOREVIST. TRI YUNT and numerous drawings in which invented notation, organisms and compositional systems coexist.
Those who’re curious enough, can download a CGS pdf-manual in by clicking on this link.
Understanding how the CGS is structured and operates will allow the curious reader to discover and understand the deeper layers hidden in my next hybrid artbook release on September 15.
Where do you look next—and what changed because you looked again?
English edition: Vyaas, Shaharee. The Chimera Protocols of Transmutation. 254 pages, standard color. Independently Published, September 15, 2026. ISBN 9798255835324. Price: €29.99.
Edición española: Vyaas, Shaharee. Los protocolos quiméricos de transmutación y El libro de la tinta dividida. 254 páginas, color estándar. Publicación: 15 de septiembre de 2026. ISBN 978-84-09-88086-7. Precio: €29,99.
