Carbon Black, 1988

Lijn used identical geometric elements to create an organic form dependent on the spatial relationship and connections between the separate elements.
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Argo, 1988

Commissioned by NM Schroder for their newly built head office in Poole, designed by Wells -Thorpe and Supple Ltd
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Net Heads, 1988

A series of works on paper all using the image of nets to configure the human head. Nets and meshes are a basic part of the iconography of Lijn's work.
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O Lily Lilith, 1987-1990

Lijn began to experiment in the factory using colour and blowing the glass into metal which wrapped itself around the molten forms, taking on the patterns of the spinning motion used when blowing glass.
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Zig Zag Blues, 1987

Using formal geometric elements, Lijn creates an organic serpentine form by varying the relationship between the single elements.
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Torn Head, 1987-1990

The change from solid optical glass prisms to hot blown glass marked a shift in Lijn's work from the purely metaphorical to the intensely personal. Whereas Lijn's Prism Heads transformed light, her Torn Heads expressed emotion.
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Headborn, 1987 – 1990

The title of this sculpture implies birth from the head. The word conception means both birth and idea, conceiving in the womb and in the mind.
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Brooding Head, 1986-90

In 1987 Lijn began to work with hot glass in the Hergiswil Glassi on a series of torn exploding heads. The Glassi is a traditional glass factory on the shore of Lake Luzern, a huge wooden building where glass is blown by a number of craftsmen all grouped on a stage around a central furnace or pot where the glass is melte
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Woman of War, 1986

Lijn wanted the sculpture to come alive and decided that it would enact the drama of the song. It then became apparent that Woman of War would sing to Lady of the Wild Things which would respond to the song with light.
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Blue Buzzing Bee, 1985

It seems that the origins of saintly halos derive from the historical fact that bees were seen to swarm around the heads of Hindu and Buddhist saints.
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