What lives inside.
A way to reach you.

A feeling is the beginning.
Finding its language is the work.

Still My Own and Aún Soy Mío are expressions of my life, imagination and artistic vision. Their foundations are the experiences I have lived, the worlds I imagine, the words and ideas I bring, and my continuing engagement with philosophy, spirituality and psychology. These shape what the songs question, what they stand for, and the relationships between love, desire, power and freedom that run through both albums. Those questions cross cultures whose customs, histories and ways of speaking differ. The differences matter; so do the longings we keep recognizing in one another: to love, want, belong, create and have a say in the life we live.

Often, I feel what my heart wants to communicate before I have the language that can hold it. Finding those words is part of my authorship. I listen for whether a line carries the feeling, whether something essential has been lost, and whether its implications lead away from what I mean. A beautiful phrase can still be wrong for the song. I write and rewrite to give the feeling a more precise expression while leaving room for you to encounter it through a life different from mine.

Intuition and reasoning stay in conversation throughout that work. An emotional response can reveal a distinction I have not yet understood; examining the language can deepen my understanding of what I feel. I consider what a line says, what it implies, whose perspective it leaves out, and how its meaning changes within the song. Revision does more than clarify an existing intention. It can reveal something I need to question, develop or understand more fully.

The qualities I embrace as part of my femininity (receptivity, sensitivity to emotional nuance, empathy, and the willingness to be moved) are active in this authorship. They shape how I listen, imagine another person’s experience, and make room for feelings that have not yet found words. Alongside them, I embrace masculine qualities such as decisiveness, clarity, courage, and the willingness to act. I do not see these qualities as belonging exclusively to any gender; regardless of gender, we all carry feminine and masculine qualities within us, and their interplay can make our thinking and expression more whole. Receptivity can change what I understand, while discernment and conviction help me decide how to express it without losing its emotional depth.

From Second Looks, the original conception of my first album, through the substantial redevelopment that became Still My Own, this has involved extensive original writing, rewriting, narrative development and musical direction. The work continues between languages, cultures, mental visuals, and sound: what reads clearly must also carry the feeling through phrasing, rhythm, imagery, and delivery.

I develop language with AI through extensive constitutions I define around my human values, lived experience, ways of thinking and creative intentions. Those directions shape what I ask it to examine and propose. My experiences, questions, corrections and judgments continue to change the work throughout its development. AI can introduce possibilities I had not imagined; I decide what to question, transform, reject, develop or keep. Its contribution enters a human practice that remains responsive to what I actually mean and choose.

Real Hearts & Bodies names the artistic signature I develop where inner life becomes expressive choice: what I feel, what I understand, what I question, and what I refuse to make smaller. Writing, performance, sound and imagery give those relationships a form another person can encounter. I want the work to reach something you recognize in yourself—and leave you freer to decide what to do with it.

About the voices in the music

Sixteen songs.
Words worth returning to.

The path began with Second Looks, the original conception of Chris’s first album, and the wish to be recognized beyond a first impression. It developed through changing concepts, lyric drafts, visual ideas, performance experiments and repeated questions about what the work was really saying. Still My Own became its own album, with a distinct sixteen-song journey.

Six months went into finding the songs, the final lyric direction and the messages Chris wanted to communicate. Behind that period sit years of experience and the search for words to question inherited shame. The purpose was never simply to document pain. Freedom, pleasure and care needed to be felt in the songs, with room for listeners to bring their own histories, desires and disagreements.

The work reaches back into Second Looks. Earlier songs, drafts and questions were revisited as the new album took shape, alongside writing that opened entirely new possibilities. A changed title or a new version did not mean starting from nothing. Chris carried forward what still felt true, challenged what no longer fit, and kept refining the words, the musical direction and the feeling he wanted another person to receive.

The archive preserves hundreds of documented revisions and decisions across the work: exact wording changes, lyric redevelopment, and musical and performance direction. These records make the human work examinable—what Chris contributed, what changed, and which choices became part of each version.

During one documented stage of development, the title track reached Revision 67. Chris specified language, clarified emotional meaning, and identified what needed to change or remain. Those decisions helped shape a central distinction: being whole in the present does not mean being finished becoming, and discovering something new does not automatically make an earlier feeling false.

The work continued through musical, lyrical, and performance revisions. Chris wanted the ending to carry the force of a conclusion without closing off the life beyond it. He kept refining the direction until he felt that conviction, emotional openness and the possibility of more were present together.

One artist.
A connected creative human practice.

I am the artist and the creative operation behind Chris in Full.

I carry the work across original writing, extensive rewriting, narrative development, musical and performance direction, visual conception and artistic presentation. From the earliest drafts of my musical expression to Still My Own, these responsibilities have remained connected through my continuing creative involvement.

These forms develop in relationship. A lyric can change the feeling of a rhythm; a vocal delivery can reveal another meaning; an image can open a different way into the song. I keep working across those relationships so that the writing, sound and visual world serve what I want to express.

Chris in Full is my independent creative practice. My recorded performances, writing, musical direction, imagery and presentation develop through my continuing artistic choices. The credits for each recording identify its particular human and generated contributions.