Windows, 1980

This figure owes its title to Lijn's interest in the function of windows, and to the metaphor of the prism as a window into matter.
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Heshe, 1980

With Heshe Lijn took the plunge into colour. As well as showing her interest in tactile surfaces rather than painted sculpture.
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Windows, 1979

Lijn layered brightly coloured pastels, rubbing some of the intensity out with white. At the time, she was interested in the surface of the sun and its constant ebullience.
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Saurian, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Nahhash, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Moonbrow, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Lenscape, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Four Figures of Light, 1978

These figures are human scale and are meant to be seen in relation to men and women. When Lijn made them she realised that she was going to try to find a new human image.
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Touchstone, 1977

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Mad Eye, 1977

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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