Cuffs - Liliane Lijn

Reflections Tableau 4, 1962

This series of works was inspired by reflections seen through a porthole on a trip from Brindisi to Greece in the summer of 1961. Lijn wanted to find a way to see luminous reflections which appeared like drops of water moving across a transparent window.
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Reflections Tableau 3, 1962

This series of works was inspired by reflections seen through a porthole on a trip from Brindisi to Greece in the summer of 1961. Lijn wanted to find a way to see luminous reflections which appeared like drops of water moving across a transparent window.
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Reflections Tableau 2, 1962

This series of works was inspired by reflections seen through a porthole on a trip from Brindisi to Greece in the summer of 1961. Lijn wanted to find a way to see luminous reflections which appeared like drops of water moving across a transparent window.
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Reflection Tableau 1, 1962

This series of works was inspired by reflections seen through a porthole on a trip from Brindisi to Greece in the summer of 1961. Lijn wanted to find a way to see luminous reflections which appeared like drops of water moving across a transparent window.
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Cuttings, 1962

Cuttings were a development of Lijn’s first experiments with clear acrylic, ‘Fire Lines’, and represent her first attempt to generate an energetic vibration through the use of repetitive elements.
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Small Cuttings, 1962

Cuttings were a development of Lijn’s first experiments with clear acrylic, ‘Fire Lines’, and represent her first attempt to generate an energetic vibration through the use of repetitive elements.
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Young Universe, 1962

Lijn wanted the word to be seen in movement, dissolving into a pure vibration until it became the energy of sound.
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Alphabet, 1962

Lijn wanted the word to be seen in movement, dissolving into a pure vibration until it became the energy of sound.
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Vibrographe, 1962 / 2019

Lijn felt that words, made from separate letters, were essentially structures made from lines, and therefore could be deconstructed into energetic vibrations in the same way as the Vibrographe.
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Atom Born Beings, 1962-1963

Lijn wanted the word to be seen in movement, dissolving into a pure vibration until it became the energy of sound.
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Get Rid of Government Time, 1962

Lijn wanted the word to be seen in movement, dissolving into a pure vibration until it became the energy of sound.
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Piercing, 1961

Lijn was interested in the shadows cast by the empty holes which transformed the negative spaces of the drilled holes into positive forms, creating the illusion of solids.
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Yellow Drilling, 1961

Lijn was interested in the shadows cast by the empty holes which transformed the negative spaces of the drilled holes into positive forms, creating the illusion of solids. Lijn felt she had created an architecture of the void.
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Double Drilling, 1961

Lijn was interested in the shadows cast by the empty holes which transformed the negative spaces of the drilled holes into positive forms, creating the illusion of solids. Lijn felt she had created an architecture of the void.
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Inner Space, 1961

Lijn was interested in the shadows cast by the empty holes which transformed the negative spaces of the drilled holes into positive forms, creating the illusion of solids. Lijn felt she had created an architecture of the void.
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Cuttings, 1961

Cuttings are negative reliefs. The slices of saw-blade cuts made in a clear Perspex sheet are perceived as solid relief casting shadows on the back surface of the sheet, whereas the solid uncut area of the sheet is perceived as empty. The original concern of these early works was the interchangeability of opposites, i.e. that negative and positive were so close as to be indistinguishable.
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