Poem Game, 1970

In 1970, Liliane, Liliane Lijn created a deck of 54 of word cards. Each card had one word to a side, ‘the words themselves having come to mind as I wrote them on the cards’. She originally called the cards Keys and invented three games to play with them: a game of power, a game of poetry and a game of divination.
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Floating Gardens of Rock City, 1970

A set of four collages in which Lijn visualised transforming the top levels of the New York skyscrapers into fantastic walkways spanning the island of Manhattan. Lijn envisaged using film, holography, and giant installations to create fantasies of beaches and jungles.
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Bubble Tower, 1969

Bubble Towers were initially made as toys, but were shown to be very complex and unpredictable in their fluid dynamic aspects.
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Anti-Gravity 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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See Thru Koan, 1969

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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White 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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Wedges, 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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Transparent Bishop, 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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Thru the Looking Glass, 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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Salute to Spectra Messenger, 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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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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