Liliane Lijn

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All 16 /Sculpture 16

Lilith, 2001

Lilith burns with the fire of passion and unquenchable life. Fire deposits carbon shadows on the bronze of the sculpture. Carbon is the essential element of life.
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Revealing, 2001

In this series of text works, 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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Divided Self, 2001

Divided Self invites one to think of oneself as partly transparent, open, knowable and partly opaque and unfathomable. One thinks of the Self as whole whereas the individual psyche can fragment into innumerable figures, a cast of thousands.
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Lavender Queen, 2000

One of five digital film installations that place Lijn's earliest memories within different parts of her body.
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Fragile Footing, 2000

In these works land and body are intertwined, transforming one into the other.
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Fire my Soul, 2000

Fire My Soul is concerned with human suffering. The experience of a masectomy, the fear of death, and the mutilation of the female body. In this sculpture Lijn salutes all women who have been struck by breast cancer. It is a memorial to their suffering and to their strength.
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Body Canyon, 1999

In these works land and body are intertwined, transforming one into the other.
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Weapon of Time, 1999

Liliane Lijn has created sculptures based around the form of the koan since the sixties. This body of work, within her whole practice, is subject to great variety and subtlety.
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Jewel in the Wood, 1999

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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She Me Skin of the Tree, 1999

Lijn awoke from a deep sleep with a curious vision of crystal hands sprouting together like a bunch of brittle flowers.
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Head Flower Koans, 1988

Made during a residency at the Robert Niederer Hergiswil glass factory near Luzern.
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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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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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