Crossing Map, 1983

Instead of creating illustrations for the text, Lijn creates a visual score, as if the writing were lyrics that could be set to music, and the music could be seen instead of heard.
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The Illusory Web, 1982

Liliane Lijn, use the properties of holography as a natural progression from her work in kinetics and light. Lijn deliberately cut up plates and carefully repositioning the pieces. Her subject matter of fine wire mesh curved to create moiré patterns continues a theme that she began before she discovered holography, and the mutilation of the plates reflects her dislike of presenting images in depth.
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Soft Koan, 1981

Soft Cone is one of a group of sculptures which Lijn originally made in clay. She was particularly interested in the energy transferred from her hands to the clay.
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Circle of Light, 1980

The oscillating line of reflected light on each cylinder acts as a system of signals that describes spatial changes occurring on the surface of the cylinder.
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Windows, 1980

This figure owes its title to Lijn's interest in the function of windows, and to the metaphor of the prism as a window into matter.
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Heshe, 1980

With Heshe Lijn took the plunge into colour. As well as showing her interest in tactile surfaces rather than painted sculpture.
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Windows, 1979

Lijn layered brightly coloured pastels, rubbing some of the intensity out with white. At the time, she was interested in the surface of the sun and its constant ebullience.
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