In 2019, I left for Kazan for a couple of weeks, leaving my parrot Andy with my neighbors. A week later, they called me and told me the sad news - the parrot had died. Then I worked on a project related to photogrammetry, a discipline that allows you to recreate a 3D model based on photographs of an object.

Returning to Moscow, I found out that the neighbors did not bury the parrot: they thought that it would be better for me to decide how to deal with his body properly, and 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 a friend's photo studio near the house and took enough good quality shots of the stiff Andy before his burial, which would be enough to recreate his model.

The installation features a printed copy of my deceased parrot, which I inherited from a friend. She named it after contemporary artist Andy Warhol.

In a four-channel composition, I used recordings of Andy's singing, field soundscapes of the forest, during the period when birdsong is most active, granular 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 seem to be based on several mini-semlet schemes inherent in a particular species. I wanted to destroy the recognizable patterns of bird songs in order to create a new sound ornament with the help of the digital environment - and thereby trace the strange relationship between man and nature.