Gold Cylinder, 1964/1967

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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Sunray, 1967

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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Spectrum, 1966

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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Rays, 1966

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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Periscope Eye, 1966

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 Flares III, 1966

In 1965 Lijn began to fabricate framed wall sculptures using thin acrylic sheets as surfaces and incorporating within the frame numerous small spotlights that were programmed to turn on and off sequentially to change the angle of incident light illuminating the surface.
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Cosmic Flares II, 1966

In 1965, Lijn began to fabricate framed wall sculptures using thin acrylic sheets as surfaces and incorporating within the frame numerous small spotlights that were programmed to turn on and off sequentially to change the angle of incident light illuminating the surface.
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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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