Pablo Damian Cristi
Pablo Damián Cristi is my name, it is the sound, the vibration with which I recognise myself.
Born in September 1975, in the city of Rosario, Pablo Cristi was the son of Mario Antonio Cristi and Norma Graciela Capitani.
He had a normal childhood where everything was motivated by the inertia of a system that was shaping his world at that time, or at least his perception of the world.
Pablo was very active in sports and showed skill in most of them. However, he was always interested in drawing and anything related to crafts. He kept this interest to himself, even rejecting his mother's suggestions to enroll him in art schools or courses. In fact, he would destroy all the small sculptures or drawings he made when he felt he had achieved his desired objective and considered the work finished in his mind.
There were moments when clarity revealed the path from the intimacy of a creative instant, where he disregarded any external or pre-established impositions of a normalizing system. However, in those moments, when the light behind the window illuminated everything, he closed off even more possibilities, out of fear or for some unconscious reason, repeatedly shutting down every exit.
Pablo was always an extremely sensitive child, but he had already understood the cruelty of the world he was born into. His instinct led him to hide it and always pretend to be in control or to appear like everyone else, knowing deep down that none of it was true.
Then, at an advanced age, due to the many challenges life threw at him, he isolated himself completely from the world he had created as a form of protection. A shell grew so thick and rigid that it no longer allowed him to breathe, as if his internal growth was outpacing the adaptation of his external skin. This happened at the age of 33 in the year 2008, amidst the institutional crisis in Argentina, during the famous agricultural strike of 2008.
The following years were traumatic and tumultuous for him, especially because he experienced the loss of many close people, including Aunt Chiche, who had marked Pablo's childhood by always showing him books of paintings and sculptures, including the most interesting works of the master Michelangelo when Pablo was just 10 years old.
Those years were so traumatic that he made the decision to leave his home, leaving behind his wife and a one-year-old child. However, he never fully abandoned them, and over time, they became the most important people in his life. His escape was nothing more than a way to protect those closest to him, as difficult and violent times were approaching. These times of violence would be directed inward but could have consequences for his loved ones.
With the collapse of his protective shell, his entire inner world was exposed to infinite possibilities, represented by the sculpture of legs with the explosion of infinite paths. This exposure resulted in unbearable bitterness and anguish.
There was no choice but to undergo the most cruel and sincere self-recognition. Every possibility, even the most extreme ones, was considered. The possibility of absurdity was not foreign but rather more real than what had been considered "normal" in a world filled with shades of gray.
During those years, all imaginable experiences within reach of this plane began to be part of what was possible, even the unimaginable.
Perceptions without the constraints of the shell had no limits; everything was magnified, and nothing was discarded because it had its possible place in the most sincere acceptance. Selfishness became the most important tool for understanding, and "intuition" became the most powerful driving force for the development of all aspects that define a human being and their soul.
It is in this context that the possibility of the path arises as the path itself, without an objective, without anything that obstructs the most intimate feeling of the moment. It is in this context that the possibility of "BEING" in its fullest expression.