Three Who See, 1972

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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Tarahumaras, 1972

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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Crystal Steps, 1972

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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Linear Light Forest, 1972

A transformable sculpture, each cylinder can be moved to different base positions on the platform which creates each time a differently configurated work.
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Homage to Milarepa, 1972

This is a work in a series of sculptures called Rites of Passage. Jetsun Milarepa was a great Tibetan poet saint who lived around 1000 A.D. Lijn read his teaching while living in retreat in Greece in the early 1960’s. His life and words were of great importance to her.
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Breathing Tower, 1971

In 1971, Liliane Lijn proposed Breathing Tower for a commission for the Hayward Gallery's roof in London. The pulse - the breath - would take the form of Thames water being raised by hydraulics to change the shape of the mutable, ziggurat sculpture.
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Liquid Light, 1971

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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Light Line to Infinity, 1971-1972

Most of the Linear Light Columns were vertical, although the earliest large one had been horizontal. In Light Line to Infinity Lijn has narrowed down the copper cylinder to concentrate on the line of light.
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Light Columns, 1971

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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