Lines of Power, 1983

Lijn was interested in the way a reflected line of light describes the altered surface of the cylinder and gives precise information about any changes made to its surface.
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Lady of the Wild Things, 1983

Lady of the Wild Things is a lunar archetype. Her light side, arrayed in red and green, a constant reminder of opposites, is showy and seductive and activated by sound. Her dark side, often unseen and acknowledged, is both threatening and all embracing.
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Crossing Map (Book), 1983

In Crossing Map, a woman artist questions the meaning of time, enters the web of her memory, and transcending the present, discovers a world bearing no trace of man’s presence. There she meets the last man and is witness to the death of her society and the dematerialization of man.
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Crossing Map, 1983

Instead of creating illustrations for the text, Lijn creates a visual score, as if the writing were lyrics that could be set to music, and the music could be seen instead of heard.
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The Illusory Web, 1982

Liliane Lijn, use the properties of holography as a natural progression from her work in kinetics and light. Lijn deliberately cut up plates and carefully repositioning the pieces. Her subject matter of fine wire mesh curved to create moiré patterns continues a theme that she began before she discovered holography, and the mutilation of the plates reflects her dislike of presenting images in depth.
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Soft Koan, 1981

Soft Cone is one of a group of sculptures which Lijn originally made in clay. She was particularly interested in the energy transferred from her hands to the clay.
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Circle of Light, 1980

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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