Hiway Cones, 1966

Inspired by the small striped cones lining the roads, Lijn began, in 1966, to make her Hiway Cones. The road cones are signals informing drivers of where they must drive and not drive. One has to look at these signals as a form of language.
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Cosmic Flares, 1965-66

I would like to make cosmic maps. It should be that in the discipline of a drawing there is the same rhythm as that of cosmic forces.
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Silver Cylinder, 1964/65

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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ABC Cone, 1965

The word accelerated loses its identity and becomes a pattern pregnant with energy. It is pregnant with the energy of its potential meaning should it once again become a word.
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Man Is Naked, 1965

When Lijn puts words on cylinders and cones and makes Poem Machines, she wants the word to be seen in movement splitting itself into a pure vibration until it becomes the energy of sound.
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Time Forces Split, 1965

The word accelerated loses its identity and becomes a pattern pregnant with energy. It is pregnant with the energy of its potential meaning should it once again become a word.
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Sky Never Stops, 1965

The word accelerated loses its identity and becomes a pattern pregnant with energy. It is pregnant with the energy of its potential meaning should it once again become a word.
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Eroskon, 1965

The word accelerated loses its identity and becomes a pattern pregnant with energy. It is pregnant with the energy of its potential meaning should it once again become a word.
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Fidel Prism, 1964

"Lijn constructs kinetic pieces she called Poem Machines, with titles such as Fidel Prism and Time Forces Split, that span words at high speed until they blur and vibrate." (Hannah Duguid, Guardian 2016)
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