Xólotl could take on different forms. In Nahua mythology, he transforms himself to escape sacrifice, eventually becoming an axolotl. Centuries later, Julio Cortázar’s “Axolotl” explores another kind of transformation, in which the distinction between the narrator and the creature he observes gradually becomes uncertain.
Ahora soy un axolotl begins from this idea of transformation as a continuous state of becoming. Sounds gradually move from one condition to another, carrying traces of what they were before as they take on new identities. A familiar sound may stretch beyond recognition, dissolve into other materials, or slowly become something that was already present within it. At other moments, an unfamiliar sound may gradually reveal itself as something recognizable.
The piece inhabits this space between identities. Transformation is not presented as a series of clean transitions, but as a gradual process in which one state is continually becoming another. The listener is invited to remain within this uncertainty—to experience sounds as both themselves and something else, without needing to establish exactly when one identity ends and another begins.
The axolotl becomes a metaphor for this condition: a body that can transform, persist through transformation, and occupy an ambiguous space between forms. As in Cortázar’s story, where the boundary between observer and observed ultimately becomes unstable, Ahora soy un axolotl explores the possibility that identity itself can remain fluid, suspended between what something was, what it is, and what it may become.