Land Sea Light Koan, 1997

In Land Sea Light Koan Lijn return to striped cones she made in 1966 which she called Highway Cones. The numerous bands of colour reminded Lijn of the rings of Saturn. The cone is a cosmic astronomical form.
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Stone Koans, 1997

In Stone Koans Lijn concentrates on the geometry, and the relationship between the different qualities of stone.
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A for Elm, 1996

Whether Lijn works 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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Her Mother’s Voice, 1996-98

In Her Mother’s Voice Lijn asked her mother to remember her life. She then transcribed the oral tapes, endeavouring to retain the unique character of her voice. Her Mother's Voice focuses on memory and an individual's history, which is also the history of the artist and on a broader scale that of the forced exoduses and resettlements of a generation of Russian and European Jews.
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My Body My Self, 1996

The finished work portrays simultaneously the physical body and the psyche. It is both fragmented and yet whole, layered and luminous. Its fragility and its aggressive power convey the tensions between the inner and the outer self.
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Music Children, 1996

Whether Lijn works 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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Darker Me, 1995

Darker Me references to Eros and the instinctual drives so often suppressed in women. It is Liliane Lijn's first self portrait.
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Fierce Archetypes, 1988-1994

In the 1980’s Lijn’s work was imbued with mythological and archetypal images. Lijn was uncovering different and new aspects of the feminine which were greatly nourished by her interest in a large spectrum of materials and technical processes.
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