Gravity’s Dance, 2019

The kinetic sculpture Gravity's Dance emerged from Liliane Lijn's artist residency at EGO, the European Gravitational Observatory, in Pisa.
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Converse Column, 2019

Nexus, Leeds University has commissioned the permanent installation Converse Column.

A nine-meter high revolving column of transforming words, Converse Column is sited adjacent to Nexus, the University’s new centre, designed to inspire collaboration and innovation with real world impact.
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Cosmic Sea I, 2019

I am interested in the behaviour of different materials and how they interact with each other. Cosmic Fragments are traces of a collision between an ancient material, glass, and a new composite material, Vapourshield, designed to prevent metal vapour from passing through the walls of the crucible in induction furnaces.
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Antidote Box, 2018

A sculpture produced for the 3rd International Mykonos Bienniale, titled 'Trans Allegoria' curated by Lydia Venieri.
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Crystal Koan, 2018

Koan is a Japanese word for a paradoxical riddle given to young Buddhist monks as aids for meditation. They are a continuous theme in Lijn’s work.
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Who Will Say, 2011

Poemdrums are related to Lijn’s early work with text, Poem Machines (1962). Like the Poem Machines, they spin, disengaging words from the composed text.
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Glass Feet, 2011

Poemdrums are related to Lijn’s early work with text, Poem Machines (1962). Like the Poem Machines, they spin, disengaging words from the composed text.
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Dark Matter, 2011

Poemdrums are related to Lijn’s early work with text, Poem Machines (1962). Like the Poem Machines, they spin, disengaging words from the composed text.
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Essential Forest, 2011

Poemdrums are related to Lijn’s early work with text, Poem Machines (1962). Like the Poem Machines, they spin, disengaging words from the composed text.
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Am I Who, 2010

Whether Lijn work 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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Faster Than Birds, 2009

Poemdrums are related to Lijn’s early work with text, Poem Machines (1962). Like the Poem Machines, they spin, disengaging words from the composed text.
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Way Out Is Way In, 2009

The 3-meter column is made from used industrial drums that are programmed to rotate at steadily increasing speeds until the words, a tracery of drilled holes, blur into vibrating pulses of light.
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