No Lines by Maija Liepins

No Lines by Maija Liepins
read by Karen Wood
An Explanation
Part 1
by Karen Wood
read by Karen Wood

Response to Maija’s No Lines

How did I miss these words when they were written
How did I miss this verse when it was posted
How did I a few months on
end up reading No Lines to my self
why did I record No Lines with my own voice
why did I post my voiced recording here?
why am I writing this verse?
why am I here?

“an explanation”

part I

today is my first scheduled
kbwoodnews research Monday
part study day, part studio day
I know
I should be over
on Yonat’s Blog
Monthly Mondays
I intended to be
then my login diverted me here
through a direct pathway to Laboratory of Dissent
this happens to me
alot
I am easily distracted

to understand this process
I am sharing a little out loud
like i did over on block chain when I knew no better
I literally sat down and wrote
words without thought
arriving tumbling out of my head
I know not why

I have learnt to let the words out
I know through experience
they will eventually get to their explanatory point
the essence of what they are trying to convey
I know this to be true

why do I record the words of others you ask
this is my way of knowing each word which is written
first manually by writing it pencil to paper
where the spelling can be easily erased
I use thesaurus for all my textural needs
for words which look like they are oddly spelt
for words I do not understand
or when I know that there is a better word
to explain my connectivity with the meaning of the verse
or rather with what I think the meaning is to me
secondly voice recordings for my ears only or that is how this all started
I voice the words into my audio
stopping at a word which does not flow
a word which has a very strange sound
to my left ear only
as the right one is permanently in a woosh of internal sound
conveniently ignoring all external commotion

I will give you an idea of what I mean:
In M’s No Lines the first two words I bumbled were
perimeter, parameter
after trying to re-record these words four times over
I finally looked them up
perimeter (puh-rim-iter)
parameter (puh-ram-iter)
you may laugh for they are simple words
both words I discover are linked to my urban explorations
until today I have used much simpler terms
of border(perimeter) limitation(parameter)
in terms of space within my place-based practice




The Pedagogies of Dissent

As part of the Lab of Dissent 2.0 I brought my A level students from Salisbury 6th Form College to the gallery, inviting them to interact with the artists present and the works displayed, a form of disruption for a space traditionally dedicated to showing ‘professional artists’, thus excluding children. They created their own collective response as a large cyanotype print which is still to be revealed back in the classroom.

During their visit in the gallery, artist Sharon Harvey drew them in action, a true revelation of their own process recorded live and a deep impact on their realisation of their presence in the space as artists themselves.

Quick drawing of students in action by artist Sharon Harvey-27.11.19

Vulnerability and the Value of Not Knowing

This is my first post since I’ve started on site. One day exploring along the river with Karen Wood so far and lots of conversations via WhatsApp and Instagram. Countless thoughts and feelings, ideas and wonderings.

And one of the wonderings is what the hell I’m doing.

It’s not really a problem, I always come to this stage, I just don’t always admit it. On a residency people usually need me to seem confident, in control, and clear about where I’m heading. This time I’m giving myself permission to be more honest.

Being openly yourself in a place you don’t know, with people you don’t know, as part of a collaboration that has no set way of working or fixed outcome, is an incredibly vulnerable position to be in.

Not knowing is a rich place where all the sensations of place, body and emotion can mix and swirl and flow. And after a while they will cluster and tell me what I need to do next. That’s how my process works. But again I don’t always say that out loud.

Multiple Exposure Image – Collaboration with Susan Merrick, Maija Liepins and Karen Wood

When I work in education we talk about the value of not knowing, and the importance of being open to being taken in new directions. We also talk about how that can feel uncomfortable, and that structure and mutual support is necessary, alongside documentation of the process, so you can look back, reflect on what you have said/made/seen and so realise that you do ‘know’ what you are doing. But that feeling your way forward, followed by a retrospective piecing together, is a different kind of knowing to what is often valued, or which can be easily articulated.

Playing in the river with a doll body and a tape drawing. Photo by Karen Wood

“The creation of something new is not accomplished by the intellect but by the play instinct.” – Carl Jung

I guess what I have been doing so far is playing. Play is so often misunderstood. It is seen as something that children do, and children in turn are seen as less than adults.

I can’t say what is going in the exhibition in the Winchester Gallery yet. I can’t say what I will have learnt at the end of this process yet, I can’t say what I will take on from this to seed new projects and beginnings. But I know l that I will make what I need to, I will learn what is needed (within the context of the place and people that I am sharing the experience with) and that my practice will be all the richer for it.

This isn’t the post that I was going to write – it was going to be all about what I’ve done and why, with neatly made links and well chosen images. But I’m trying to keep open a space to play so that I don’t close things down too soon.

Karen Wood drawing in response to our explorations of the River Itchen

For now I have some loose clusters of ideas, some images of playful moments spent on-site, and a question that I am asking myself and the rest of the LOD2 team.

The key areas I’ve been exploring are:

  1. Water inside and outside the body. Rivers of blood and water (including medical processes and sampling)
  2. Play and its links with no. 1 (boats, dolls, toys, paddling, laughter and fun)
  3. Flooding and burning as a result of climate breakdown (in connection with Andy Jones)
  4. Seeing/being beyond boundaries (and its link with the damage done through our inability to perceive ourselves as continuous with the ‘More than Human World’ – see no. 2)
  5. Linking with all of the above – embodied and artful ways of knowing and their place in preparing for an uncertain future

And the key question that’s occupying me at the moment:

Q. Is Dissent a privilege of the Insider? (having the freedom to choose to step outside rather than living there)

An Encounter

my first cross group encounter

Maija (M for short)
thank you for walking with me
whispering, breaking free for awhile
from your soapbox constraints
a self imposed 1.5×1.5 white void
in this confined space
can you let yourself be?

back to your verse M
it has stirred my midnight sleep
allowing me to leap about
with my words
tentatively flowing out

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