Head drawings, 1984-1989

Lijn began a series of studies for heads quite consciously in order to develop and change the way she constructed the head areas of her sculptures.
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She’s so Blue, 1985

Lijn sees Head-Dresses as extensions of the Head. Anything worn on the head is also part of it and expresses it’s powers and restrictions. As in the veil or the mask worn by women to conceal and suppress them.
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Horned Head, 1985

The studies for Heads gradually became Head-dresses. These are sculptures to wear, head ornaments and symbols of the head.
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Folding the Ring, 1985

Lijn plays with geometry, collapsing and folding circular planes or segments of rings, using piano wire and beads as a flexible mobile extension of the plywood shapes with beads for colour.
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Her Head is Her House, 1984

In her bead heads series, Lijn plays with geometry, collapsing and folding circular planes or segments of rings, using piano wire and beads as a flexible mobile extension of the plywood shapes.
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Red Coil Head, 1984-1985

Lijn sees Head-Dresses as extensions of the Head. Anything worn on the head is also part of it and expresses it’s powers and restrictions. As in the veil or the mask worn by women to conceal and suppress them.
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Her Ear Her Mouth, 1984

This head like the ears of the earth listens to the stars.
 This head can be worn and become part of you.
 This head is to the body as the mountain to the earth.


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Gemini, 1984

In Gemini Lijn returned to the fascinating liveliness of springs. The sculpture is both held in tension like a spring and uses springs humorously as a relief from tension.
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A Tribute to Birgit Skiöld / Spinning, 1983

After the untimely death of the artist, ‘A Tribute to Birgit Skiold’ was produced to raise funds for the Birgit Skiold Memorial Trust. 118 artists from various countries contributed free of charge an edition of 25 prints in the 30 x 30 cm format, to create a portfolio of three volumes.
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Lines of Power, 1983

Lijn was interested in the way a reflected line of light describes the altered surface of the cylinder and gives precise information about any changes made to its surface.
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Lady of the Wild Things, 1983

Lady of the Wild Things is a lunar archetype. Her light side, arrayed in red and green, a constant reminder of opposites, is showy and seductive and activated by sound. Her dark side, often unseen and acknowledged, is both threatening and all embracing.
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