No Chess Yet, 1969

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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Master Switch, 1969

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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Five Point Triangle, 1969

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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Cosmic Choice, 1969

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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Black Gnomon, 1969

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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Koancuts (Letrafilm), 1969

Part of the series of works in which Lijn segmented cone forms, these translucent cut letra-film collages relate both to the larger Koan sculptures and to the Koancut silkscreen print series.
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Silver Ziggurat, 1969

The cylinder revolves at a constant speed, allowing the entire surface of the form to be seen by an immobile viewer in one continuous flow.
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Space Displace Koan, 1969

The koan spins slowly at a constant speed; so that the viewer’s eye focuses on the lines, which in turn appear to dissolve the volume of the sculpture.
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Industrial Magic, 1969

Lijn’s obsession with cones is connected to her interest in industrial cooling towers. They belong to the same family of shapes and both forms seem to be connected to energy.
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Exit Matter Koan, 1969

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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Liquid Reflections (Multiple), 1968

Liquid Reflections were Lijn’s first and most complex works with water and light. The Liquid Reflections series, inspired by her interest in astronomy and the physics of light, was the outcome of 5 years of experimental work with plastics and fire, acrylic polymers, lenses, prisms, light and finally water.
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