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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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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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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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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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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