Time’s Rhythm, 1999

Lijn wants words to be interchangeable with colour. Whether she works with a poet’s words or her own text, she wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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Floral Memories, 1998

Playing with reject pages from Her Mother’s Voice and fallen petals or flowers past their prime, Lijn used both watercolour to blur the printed words and faded flowers as an evocation of the nostalgia of time gone by.
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Land Sea Light Koan, 1997

In Land Sea Light Koan Lijn return to striped cones she made in 1966 which she called Highway Cones. The numerous bands of colour reminded Lijn of the rings of Saturn. The cone is a cosmic astronomical form.
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Stone Koans, 1997

In Stone Koans Lijn concentrates on the geometry, and the relationship between the different qualities of stone.
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A for Elm, 1996

Whether Lijn works with a poet’s words or her own text, she wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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Her Mother’s Voice, 1996-98

In Her Mother’s Voice Lijn asked her mother to remember her life. She then transcribed the oral tapes, endeavouring to retain the unique character of her voice. Her Mother's Voice focuses on memory and an individual's history, which is also the history of the artist and on a broader scale that of the forced exoduses and resettlements of a generation of Russian and European Jews.
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My Body My Self, 1996

The finished work portrays simultaneously the physical body and the psyche. It is both fragmented and yet whole, layered and luminous. Its fragility and its aggressive power convey the tensions between the inner and the outer self.
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Music Children, 1996

Whether Lijn works with a poet’s words or her own text, she wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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