Denslens, 1974 – 1975
Denslens was one of four sculptures made in 1974 using a wire-wrapped rotating cylinder and an emblematic lens.
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Landlines, 1973
Inspired by a trip through the French Alpilles, during which Lijn watched the horizon continually change shape, she decided to make a 2 dimensional artwork which would be an image of continual change.
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In the Valley of Darkness, 1973
This is the first of Lijn's works that speaks about Light contained within Darkness. The idea of light within darkness, or spirit within matter is central to her work.
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Forcefields, 1970-1972
In the late 60’s Lijn began experimenting with Letrafilm on paper. In this series, Lijn uses simple forms and much like her series Flowlines, the works explore the relationships between these forms. Through layering the Letrafilm, Lijn is able to create different dimensions and subsequently depth to the image.
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In Sua Memoria, 1972
The first in a series of works called Rites of Passage, In Sua Memoria is a memorial to Lijn’s father who fell ill and died while she was making the sculpture.
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Crystal Clusters (Rectangular), 1972
One of a series of 9 Crystal Clusters, works using periscope prisms made for 2nd WW Centurion tanks.
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Crystal Clusters (Small), 1972
One of a series of 9 Crystal Clusters, works using periscope prisms made for 2nd WW Centurion tanks.
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Crystal Clusters (Large), 1972
One of a series of 9 Crystal Clusters, works using periscope prisms made for 2nd WW Centurion tanks.
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Crystal Cluster (Rhomboid), 1972
One of a series of 9 Crystal Clusters, works using periscope prisms made for Second World War Centurion tanks.
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Rites of Passage, 1972
Rites of Passage belongs to a series that celebrate the moments of passage between different states of consciousness.
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Three Who See, 1972
Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
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Tarahumaras, 1972
Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
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Crystal Steps, 1972
Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
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Linear Light Forest, 1972
A transformable sculpture, each cylinder can be moved to different base positions on the platform which creates each time a differently configurated work.
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Koancuts (Perspex), 1972
This is a work which changes from 2 dimensional to 3 dimensional and in so doing includes movement and therefore the dimension of time.
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Homage to Milarepa, 1972
This is a work in a series of sculptures called Rites of Passage. Jetsun Milarepa was a great Tibetan poet saint who lived around 1000 A.D. Lijn read his teaching while living in retreat in Greece in the early 1960’s. His life and words were of great importance to her.
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