Words To Walk On, 1993

Commissioned by Christopher Farr, Lijn designed a series of 4 rugs all using collaged and cut-up words. Meaning and pattern interweave and are altered by the direction from which the rug is approached or seen.
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moonmeme, 1992 – 2019

In a work that demonstrates the interlocking of opposites, Lijn writes the single word SHE across the moon in letters large enough to be seen from earth.
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Drawn In Light, 1992

The sculpture is conceived as drawing a form in space. The form is geometric and suggests the cathedral spire, the pinnacle.
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The Bride, works on paper, 1987 – 1991

These works on paper were made as a way of conjuring up the Bride sculpture installations. In them, Lijn imagined the inner bride, the numinous and as yet featureless archetypal figure of the betrothed or possessed feminine.
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Regal Head, 1987/1990

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Armoured Head, 1990

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Bridal Wound, 1986-90

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Folded Koan, 1990

Liliane Lijn has been drawing soft conical forms for some time. Thinking of fan shaped open cones led to folded cones. This also came from making paper models for large-scale sculptures. Cones began to change into pyramids, obelisks and variations on these shapes.
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Black Koan, 1990

The White Koan is a minimal meditative work, Black Koan, the etching was more like its shadow, an ominous and brooding image.
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Electric Bride, 1989

The figure of the Electric Bride stands in a steel enclosure, which separates her from our world. Electric Bride and the cage are connected by an electric current, which is made visible in the form of 9 red-hot wires. A glass head pulses with strobe light and a whispered text is heard.
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Carbon Black, 1988

Lijn used identical geometric elements to create an organic form dependent on the spatial relationship and connections between the separate elements.
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