Darker Me, 1995

Darker Me references to Eros and the instinctual drives so often suppressed in women. It is Liliane Lijn's first self portrait.
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Fierce Archetypes, 1988-1994

In the 1980’s Lijn’s work was imbued with mythological and archetypal images. Lijn was uncovering different and new aspects of the feminine which were greatly nourished by her interest in a large spectrum of materials and technical processes.
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Inner Light I, 1994

Having made Inner Light in 1993, a large public work in Reading in which light was virtually imprisoned in stone seeping through a thin gap, Lijn wanted to make a work in which light infused the stone.
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Dragon’s Dance, 1994

Like many of Lijn’s works Dragons Dance invites the viewer to play an active role, the solid bronze members and the open spaces between them weaving a dance of light and form that changes as one moves around the sculpture.
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Words To Walk On, 1993

Commissioned by Christopher Farr, Lijn designed a series of 4 rugs all using collaged and cut-up words. Meaning and pattern interweave and are altered by the direction from which the rug is approached or seen.
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moonmeme, 1992 – 2019

In a work that demonstrates the interlocking of opposites, Lijn writes the single word SHE across the moon in letters large enough to be seen from earth.
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Drawn In Light, 1992

The sculpture is conceived as drawing a form in space. The form is geometric and suggests the cathedral spire, the pinnacle.
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The Bride, works on paper, 1987 – 1991

These works on paper were made as a way of conjuring up the Bride sculpture installations. In them, Lijn imagined the inner bride, the numinous and as yet featureless archetypal figure of the betrothed or possessed feminine.
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Regal Head, 1987/1990

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Armoured Head, 1990

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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