NADFLY SHOP

Artworks for purchase

ARCHIVE

HIGH LIGHTS FROM NADFLY

Artworks

Comprehensive survey of Nicola Atkinson Does Fly Artworks

Initiative

NADFLY as Curator and Initiators

Selected Writings

Duncan McLaren, Chris Hladowski, Bob Collins, Dr Manfred J Holler, Peter Allam, Ben Spencer, David Harding, Pauline Gallacher, Michael Wilson, Adam Simon and Yuneikys Villalonga

People's Profiles

Artists, Musicians, Photographers, Set Designers, Animators, Professors, Illustrators, Assistants, Architects, Cabinet Markers, Critics, Writers and Freelance Consultants.

Public Talks

NADFLY Public talks: London, Los Angeles and Havana.

Awards & Press & Publications

Comprehensive list of awards, press coverage & publications

Credits and Thank Yous

People who have given time and support

NADFLY DIS

DVDs & Artworks for purchase

Links & Interest Site

Artists web sites and helpful links

 

FLIGHT/VUELO

New Images and Sounds from Havana and Glasgow.

WhistYuneikys Villalonga was staying with us in Glasgow last November, some friends invited us down to their house in Kilmaurs, a village in Ayrshire, to celebrate their paying the final instalment on their mortgage. There were around twenty people at the party and we ate and drank generously.


At about 2am, both Yuni and I had had enough so we left the others downstairs to continue to talk in an increasingly nonsensical fashion and went to bed. The following morning we were first up and it was a bright, clear day. Yuni was asking about sheep, as she said that they don’t have them in Cuba but she knew we had them in Scotland. She had never seen a real one and would love to try to get near for a good look. Was this possible in Kilmaurs?


It wasn’t too far from where we were to the open countryside so we set off in search of some sheep and talked about the process of commissioning new work from Cuban artists. I couldn’t understand the concept of an artist simply presenting work as a finished piece, which happens as a matter of course in Cuba, or that commissioning new work was a risk to her on many levels. We turned off the main road and headed towards a farmhouse in heated discussion, “Why can’t you take the risk, what would the danger be?” was my main question, as we passed the farmhouse.


Loud barking interrupted our stride as a very large dog appeared and started towards us. We realised at that point that we were trapped, as we had reached the point where we could not turn back. Without looking back, we held on to each other and walked on with determination, cursing that we had started this mad journey in search of a sheep. Only after a while did we dare look around, slowly, to see that the dog was standing in the same place, guarding the house, but now a way off.


Yuni never did get close to a sheep. They remained fuzzy blobs in the distance, but we did decide to take the risk of commissioning the Cuban artists.

Nicola AD

April 23 2006

 

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