Big Spotted Ruby, 1984/1985

A sculpture comprising of horizontal sheets of Mica attached to a copper wire structure that give the piece an organic form like fungus or a desert rose.
read more

Red Net, 1985

Lijn sees Head-Dresses as extensions of the Head. Anything worn on the head is also part of it and expresses it’s powers and restrictions. As in the veil or the mask worn by women to conceal and suppress them.
read more

Night and Day, 1985

Both Night and Day and She's so Blue take their titles from songs imbued with melancholy: the blues. In these works she blends geometry with African art and sound with Art Deco from the 30’s and 40’s. Lijn wants her work to be as many layered as possible.
read more

Head drawings, 1984-1989

Lijn began a series of studies for heads quite consciously in order to develop and change the way she constructed the head areas of her sculptures.
read more

She’s so Blue, 1985

Lijn sees Head-Dresses as extensions of the Head. Anything worn on the head is also part of it and expresses it’s powers and restrictions. As in the veil or the mask worn by women to conceal and suppress them.
read more

Horned Head, 1985

The studies for Heads gradually became Head-dresses. These are sculptures to wear, head ornaments and symbols of the head.
read more

Folding the Ring, 1985

Lijn plays with geometry, collapsing and folding circular planes or segments of rings, using piano wire and beads as a flexible mobile extension of the plywood shapes with beads for colour.
read more

Her Head is Her House, 1984

In her bead heads series, Lijn plays with geometry, collapsing and folding circular planes or segments of rings, using piano wire and beads as a flexible mobile extension of the plywood shapes.
read more

Red Coil Head, 1984-1985

Lijn sees Head-Dresses as extensions of the Head. Anything worn on the head is also part of it and expresses it’s powers and restrictions. As in the veil or the mask worn by women to conceal and suppress them.
read more