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
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

Stirring in between spaces; whisperation, murmerette

Week 5

Night Visits

I’ve been on a quest
for the immediacy

The moment here.
The breath, the whisper
In the space between
The whisper of wind is unseen.
A visual artist makes visible
the invisible senses?
The hidden things
in between the spaces.
Negative space
Dark matter
Other world faces
Rain spatter.
Water floods and 
fire takes to the sky
an elemental maelstrom
A sparkle in your eye.

I have been thinking about The Whisper

Whispering is defined as speaking very softly using ones breath instead of ones vocal chords.

This makes sense of the phrase “the whisper of wind”

Which, in turn, explains my sense that a whisper can touch, tickle, and stir movement in your state of being the way that wind can touch the skin.



Push mightly in gusts

Blow out the cobwebs

Play with your hair

Chill you to the bone

I tense myself against autumnal winds

Go giddy in the summer breeze at dusk

In all these ways the breath can speak to the body

The wind can carry sounds

and meanings

but it’s touch and impact is below sight

experienced with all the senses

or not noticed at all

like the whisper

‘the underground’ momentum

of the invisible river

on which I sail my boat.

Square Re-dressed

Karen Wood (left) and Clarisse Halverson (right) at the final view PV 5 December 2019

“A simple structure
An encounter
A conversation”


Shifting Lines

The energetic shock of yellow was out in full force last night. We welcomed at least 80 students, staff, and friends to a PV finale on Thursday evening. Karen Wood had made yellow striped bandannas marking out the quadruplet who would descend upon her red black and white tape installation to rip it up and down, removing it from the walls (video here). It was a very fun way to end the project with our visitors.

I’d like to think Karen’s invitation gave our visitors the chance to experience art work as a moving thing not a fixed point in time and space.

An ending
A beginning
Word seeds
scattered to the wind

thank you Karen @kbwoodnews
for the playful invite
To set the double yellows
to fly with us
Prancing new lines
across the floor
Circling @kz1y19 to talk about inside/outside
Wearing old lines
That lifted us up up
and dragged us down down down
Like birds on the thermals

The excitement in the air
breathed in
invigorates me too and still
it’s memory fresh
the vision new

Maija re-dressed in tape, modelling ‘wall art’
A five second action

Art hidden under lights


a word wander:

Susan Merrick’s
choice of materials
Bring you a playful step closer
to making the mystery of Imagination
your own every day.
In the space between,
the rejected feminine elements are
Laughing and whispering noisily across the gallery surfaces,
Making their presence known,
Pulling at the threads of things
Like mischievous ghosts.

I feel like I am 15 again
Susan is making everything fun.

I feel like I am 12
Playing ancient characters
from storybooks.

The process of reclaiming material from all ages, epochs and ocean beds will never look right under the glare.
Mud and guts of the world.
Utilitarian pins and nails and things.
Ashes in my mouth.
Tear it down before it’s done.
The art is hidden under the lights.
All the surprising combinations
blooming in the conditions set.
Defying ideas
Of what we thought we were doing.
A garden under lights.


Mermaid tail with photograph scales
Susan Merrick, photo by Tina 5.12.19
View this post on Instagram


A post shared by Clarisse Halverson (@artin_thegarden) on

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

Against the grain or with the flow?

Performance ; Against the grain or with the flow?
5 December 2019 from 5pm
@ Winchester Gallery, Park Avenue

Artist; Laurence Dube-Rushby

Through my interaction with materials, I explore my connection with institutions both artistic and educational. Are we In or Out?

Despite an initial resistance to entering the education system, I question whether my radical PhD research study in ‘live art as an alternative pedagogical tool in seoncdary education’ may have moved me to self-educate as a Teacher [with a ‘Beuysian’ perspective].

I ask; what is the space for artistic endeavour and freedom within the curriculum? How does dissent and resistance become a medium for learning? Is there still space for making a mark in a capitalistic education system girded towards the production of a workforce?
Can we work against the grain within the flow of education to create a change making practice?

What does flow look like?
What does the grain entice?
How much should we give away in order to gain?