Tattoos

Aajonus named mercury, thallium, and lead as the heavy metals responsible for the coloration in tattoo dyes. These are the oxide forms of those metals, and it is specifically the metallic oxide in the dye that creates the visible color. He treated these as straightforwardly toxic substances, belonging to the same category of heavy metals he discussed in the context of vaccines, amalgam dental fillings, and industrial contamination. The fact that they are delivered into the skin through a tattooing instrument rather than injected into a vein or swallowed does not remove their toxicity; it simply changes the location and depth of their deposition.

Tattoo ink, in Aajonus's account, resides in the surface cells. It is not absorbed internally in the way that ingested or injected substances are, and he stated explicitly that it does not seem to harm the cells very much in most people. However, he qualified this by noting that in some individuals, the presence of the metals in the skin does cause a significant and measurable problem, specifically an inability to perspire through the tattooed areas. This is described as a genuine physiological consequence because perspiration is one of the body's primary routes for eliminating toxins. If the skin in a tattooed area cannot sweat, that route of elimination is blocked for the affected tissue.

The loss of the ability to perspire through tattooed skin was the most serious clinical concern Aajonus raised about tattoo ink. Perspiration is a detoxification mechanism in his framework, and when heavy metals embedded in the surface cells interfere with that function, the body loses access to an important elimination pathway in those areas. He framed this not as a universal consequence of all tattoos but as something that occurs in some people, implying individual variation in how strongly the metals disrupt the sweat function of the skin cells.

The most detailed and specific account Aajonus gave about tattoo ink involved a demonstration of how cilantro, used in sufficient concentration in vegetable juice, can pull the metals out of the skin cells and cause the tattoos to visibly fade. He described a case in which a woman challenged a friend who had tattoos all over her body, telling her she could cause the tattoos to fade within approximately ten days using vegetable juice. The friend was skeptical but agreed to the experiment.

The juice formula used in this experiment was 25% cilantro, 10% parsley, and the remainder made up of cucumber and a small amount of celery. After ten days of consuming this juice, the tattooed friend's tattoos had faded by 10%. Aajonus explained this result by reference to cilantro's known action as a heavy metal detoxifier. Cilantro, in his framework, pulls heavy metals out of tissue. He described it as containing vitamin D, vitamin E, and chlorophyll, as well as compounds that drive metallic detoxification. The fading of the tattoos was direct physical evidence that the cilantro in the juice was mobilizing and removing the metallic oxides from the surface cells where the ink was held.

The fact that the tattoos faded by 10% in ten days was taken as a proof of concept that the ink metals are genuinely accessible to dietary intervention, that they are not permanently fixed in the cells beyond any possibility of removal, and that the right substances consumed in sufficient quantity and proportion can initiate their removal. Aajonus presented this experiment as confirmatory of his broader framework about heavy metal detoxification through diet.

Aajonus also used the phrase "amalgam tattoo" in a separate but related context, referring to mercury from dental amalgam that becomes deposited in the nerve and in the tooth itself. He described this as mercury tattooing the nerve, using the same conceptual language he applied to tattoo ink in skin. In both cases, the underlying mechanism is the same: a heavy metal, whether from tattoo dye or from dental amalgam, becomes embedded in living or formerly living tissue and produces a discoloration that persists as long as the metal remains. He noted that in the case of the amalgam tattoo, the tooth is not alive and the nerve is not functioning well, which changes the calculus of how the body can respond, but the underlying phenomenon of metallic staining is identical.

He also used the term "tattooing" more broadly to describe what happens when metallic toxins stain cells in other contexts. In one correspondence, discussing skin discoloration after a detoxification event involving an injection site, he described the brownish-gray discoloration as "metallic toxins that have temporarily, sometimes permanently, tattooed the cells." This usage demonstrates that in his framework, the tattooing metaphor is not limited to deliberate body decoration but describes any situation in which heavy metals deposit in cells and produce visible discoloration that may or may not be reversible depending on the degree of contamination and the health of the surrounding tissue.