Meteorite Ring C, 2008

In the Old Hebrew testament, ‘glebe’ was the primal earth, from which the first humans were formed. Lijn intends her jewellery to be worn, as if one were moulding a clod of ‘glebe’ to a part of one’s body. She wants people to wear the earth.
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Folded Ring B, 2008

In the Old Hebrew testament, ‘glebe’ was the primal earth, from which the first humans were formed. Lijn intends her jewellery to be worn, as if one were moulding a clod of ‘glebe’ to a part of one’s body. She wants people to wear the earth.
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Heavenly Fragments, 2008

A disc and a cone of aerogel have broken into fragments. Each installation is an attempt at renewal but can only represent a fragmented memory, a ruin.
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Nyehous Becomes Indica

Nyehous Gallery, New York City

November 2007

A group exhibition curated by Riflemaker Gallery, an homage to John Dunbar's Indica Gallery and the artists who exhibited in it from 1965 to 1967.
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Liberate Heart, 2007

Whether Lijn work with a poet’s words or her own text, she wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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Lost Koan, 2007

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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Red Line Koan, 2007

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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Fire Ice, 2007

Whether she works with a poet’s words or her own text, Lijn wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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Prism Rings, 2006-2025

Lijn intends her jewellery to be worn, as if one were moulding a clod of ‘glebe’ to a part of one’s body. She wants people to wear the earth.
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Folded Ring A, 2008

Lijn intends her jewellery to be worn, as if one were moulding a clod of ‘glebe’ to a part of one’s body. She wants people to wear the earth.
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Liliane Lijn Selected Works 1959 – 1980

England & Co, London

May - June 2006

A retrospective exhibition curated by David Alan Mellor and accompanied by a publication inspired by Signals, the Signals Gallery catalogues and journal published in the 1960's.
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