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

Her Ear Her Mouth, 1984

This head like the ears of the earth listens to the stars.
 This head can be worn and become part of you.
 This head is to the body as the mountain to the earth.


read more

Gemini, 1984

In Gemini Lijn returned to the fascinating liveliness of springs. The sculpture is both held in tension like a spring and uses springs humorously as a relief from tension.
read more

A Tribute to Birgit Skiöld / Spinning, 1983

After the untimely death of the artist, ‘A Tribute to Birgit Skiold’ was produced to raise funds for the Birgit Skiold Memorial Trust. 118 artists from various countries contributed free of charge an edition of 25 prints in the 30 x 30 cm format, to create a portfolio of three volumes.
read more

Lines of Power, 1983

Lijn was interested in the way a reflected line of light describes the altered surface of the cylinder and gives precise information about any changes made to its surface.
read more

Lady of the Wild Things, 1983

Lady of the Wild Things is a lunar archetype. Her light side, arrayed in red and green, a constant reminder of opposites, is showy and seductive and activated by sound. Her dark side, often unseen and acknowledged, is both threatening and all embracing.
read more

Crossing Map (Book), 1983

In Crossing Map, a woman artist questions the meaning of time, enters the web of her memory, and transcending the present, discovers a world bearing no trace of man’s presence. There she meets the last man and is witness to the death of her society and the dematerialization of man.
read more

Crossing Map, 1983

Instead of creating illustrations for the text, Lijn creates a visual score, as if the writing were lyrics that could be set to music, and the music could be seen instead of heard.
read more

The Illusory Web, 1982

Liliane Lijn, use the properties of holography as a natural progression from her work in kinetics and light. Lijn deliberately cut up plates and carefully repositioning the pieces. Her subject matter of fine wire mesh curved to create moiré patterns continues a theme that she began before she discovered holography, and the mutilation of the plates reflects her dislike of presenting images in depth.
read more