I see the Chimeric Glyphic System (CGS) not simply as a collection of symbols, nor as an invented alphabet, but as an attempt to create a new space between visual art and literature. My ambition is to develop it into a language in which an image can be read, a sentence can be seen, a narrative can be navigated, and a visual composition can behave more like thought itself.
Traditional literature is fundamentally linear. Words follow words, sentences follow sentences, and meaning unfolds through sequence. Visual art works differently. It can present several relationships at once: centre and periphery, repetition and contrast, proximity and distance, enclosure, direction, rhythm and transformation. With CGS, I want to bring these two modes together.
The fundamental unit of CGS is therefore not the glyph alone. The real language exists in the relationships between glyphs. Position, orientation, scale, repetition, connection, enclosure and movement all contribute to meaning. A symbol placed above another may modify it; an orbiting glyph may represent an enduring influence; a boundary may establish context; a spiral may suggest recurrence or evolution; a sequence may describe transformation.
In this sense, CGS becomes a grammar of visual relationships.
I am particularly interested in its potential as a form of diagrammatic literature. A diagram would no longer merely explain something outside itself. It could become the narrative. Instead of describing transformation only through paragraphs, I could construct a visual field in which identity, memory, conflict, dissolution and renewal interact spatially. The reader would not simply look at the diagram but learn to read its structure.
This also changes the role of the reader. My intention is that the early CGS works teach their own language. At first, legends and explanatory plates identify cores, modifiers, paths, contexts and transformations. Gradually those supports can disappear. The reader begins recognizing structures independently and becomes an active interpreter rather than a passive observer.
I do not want CGS to replace written language. Its purpose is different. I want it to explore forms of meaning that linear prose does not represent easily: simultaneity, recursion, layered causality, cycles, networks, memory, transformation and interconnected systems.
For this reason, I imagine CGS developing through two complementary visual forms. One will be clear and operational, almost like scientific notation, allowing the grammar to be learned. The other will be expansive, poetic and visually complex, demonstrating what that grammar can produce artistically. The relationship might resemble that between musical notation and music: the notation provides structure, while the work itself exceeds the notation emotionally and aesthetically.
At its most ambitious, CGS could become more than an artistic project or experimental writing system. I want it to become a medium for constructing thought visually—a language capable of moving between image, narrative, symbol and experience.
Not an alphabet of pictures, but a grammar through which visual relationships themselves become meaning.
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.
