Touchstone, 1977

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
read more

Mad Eye, 1977

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
read more

Firespine, 1977

The Prism Stone series continues Lijn's work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
read more

Biting Through, 1976

These prints were based on innumerable drawings Lijn made in between 1974-6, in which she looked for and discovered dynamic patterns of flow.
read more

No Other, 1976

No Other is the last in a series of works Lijn called Rites of Passage. These sculptures were dramas celebrating the moments of passage between different states of consciousness.
read more

Lines, 1976

Lijn is interested in the way a reflected line of light describes the altered surface of the cylinder.
read more

Thisthat II, 1975

Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
read more

Thisthat, 1975

Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
read more

Even Five, 1976

Koan is a Japanese word for a paradoxical riddle given to young Buddhist monks as aids for meditation. Koans are a continuous theme in Lijn’s work.
read more

High Nine, 1974

In this series of work Lijn was interested in the way a reflected line of light describes the altered surface of the cylinder.
read more

Frosted Koan, 1974

Koan is a Japanese word for a paradoxical riddle given to young Buddhist monks as aids for meditation. Koans are a continuous theme in Lijn’s work.
read more

See Thru Koan III, 1976

This Koan combines Lijn’s interest in the relationship between the material and the immaterial and the paradoxical nature of reality. The apparently solid cone is layered with emptiness.
read more

Through Another Eye, 1974

Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
read more

Infinite Zero, 1974

Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
read more