Some years ago my friend presented me with a parrot named Andy. It was named after contemporary artist Andy Warhol.


In 2019, I came to Kazan for a couple of weeks, leaving my parrot Andy with my neighbors in Moscow. A week later, they called me and told me the sad news ― my parrot had died. At that time I had been working on a project related to photogrammetry, a discipline that allows you to recreate a 3D model based on photographs of an object.

When I returned to Moscow, I found out that the neighbors did not bury my parrot: they thought that it would be better for me to decide myself what the proper funeral should look like and they froze him. Then I decided to perpetuate the memory of him, while retaining the opportunity to later revive the parrot using digital methods. We used my friend's photo studio near the house and took enough good quality shots of the stiff Andy before his burial, being enough to create his model.

The installation features a printed 3d model of my deceased parrot.

In an eight-channel composition, I used recordings of Andy's singing, field recordings of soundscapes of the forest, during the period when birdsongs are most lively, granulr synthesis and artificial intelligence sounds from Elena Nikonole's project, which are obtained by analyzing nightingale songs. Sometimes natural bird signals seem synthetic to me, subtly processed by the virtuosity of software plug-ins. Their songs appear to be based on several mini-samples schemes inherent in a particular species. I sought to destroy the recognizable sequence of bird songs in order to create a new sound pattern with the help of the digital environment - and thereby trace the strange relationship between man and nature.