I guess you could say that the red thread in Line Larsen's practice is more like a red ball, or planet, if you will,
that represents the place where the inner and the outer landscape meet, a magical place, that keeps expanding and evolving as new doors, portals and shows are being opened
Currently working on sitting down and chillin out.
Then write a book. Paint a painting. Paint the ceiling mural masterpiece.
Paint the walls. Climb the walls. Go rock climbing. Climb a mountain.
Become an actor, filmmaker, singer, drummer, travel the world,
build a cabin, buy a boat, get a dog, dabble with some wrestling,
be personal trainer, life coach, sprinter, gymnast, motivational screamer,
influential voice, start a fight club, start a book club, get interested in nutrition,
be the non-hierarchial leader of a new island community, make money, lot's of money.
Then keepin it real, givin it back and remembering where I came from. (Source.)
"Line Larsen has developed a substantial body of work engaged with an idea of disrupting the everyday. This has been elaborated alongside with a critical method of disturbation and authorship, questioning art world norms and its commodity production through strategies of ephemerality, negation and anonymity. She has made curled extensions on the drainpipes of random houses, placed a tropical island in a Norwegian lake and "lost" six fingered gloves in the streets to be picked up by unsuspecting walkers. In her practise there is the reference to the fantastic and magic realism, she plays with perception and challenges the idea of "reality". One could say she is on a mission to tear the fabric of normality."
The heyókȟa symbolizes and portrays many aspects of the sacred beings, the Wakíŋyaŋ. His satire presents important questions by fooling around. They ask difficult questions, and say things others are too afraid to say. Their behavior poses questions as do Zen koans. By reading between the lines, the audience is able to think about things not usually thought about, or to look at things in a different way.
Principally, the heyókȟa functions both as a mirror and a teacher, using extreme behaviors to mirror others, and forcing them to examine their own doubts, fears, hatreds, and weaknesses. Heyókȟa have the power to heal emotional pain; such power comes from the experience of shame—they sing of shameful events in their lives, beg for food, and live as clowns. They provoke laughter in distressing situations of despair, and provoke fear and chaos when people feel complacent and overly secure, to keep them from taking themselves too seriously or believing they are more powerful than they are.[3]
In addition, sacred clowns serve an important role in shaping tribal codes. Unbound by societal constraints, heyókȟa are able to violate cultural taboos freely and thus critique established customs.[4] Paradoxically, however, by violating these norms and taboos, they help to define the accepted boundaries, rules, and societal guidelines for ethical and moral behavior. They are the only ones who can ask "Why?" about sensitive topics; they use satire to question the specialists and carriers of sacred knowledge or those in positions of power and authority.
For people who are as poor as us, who have lost everything, who had to endure so much death and sadness, laughter is a precious gift. When we were dying like flies from white man's disease, when we were driven into reservations, when the government rations did not arrive and we were starving, watching the pranks and capers of Heyókȟa were [sic] a blessing.