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.
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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.
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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.
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Lines, 1976

Lijn is interested in the way a reflected line of light describes the altered surface of the cylinder.
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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.
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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.
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Even Five, 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.
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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.
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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.
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See Thru Koan III, 1974

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.
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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.
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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.
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Quantum 1, 1974

The image is of the Trombay nuclear power station, which made headlines that year due to India exploding its first nuclear test bomb. Lijn had cut the photo from the newspaper about a year before the uproar, intrigued by the forms of the power station. It is a sequel to her set of Industrial Landscapes.
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Threes, 1974-1975 / 1990

Threes, is a group of six similar sculptures which can be arranged to occupy a space in changing configurations. The different juxtapositions influence the way the movement of each cylinder is perceived in relation to the others.
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