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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Firespine, 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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Biting Through, 1976

These prints were based on innumerable drawings Lijn made in between 1974-6, in which she looked for and discovered dynamic patterns of flow.
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No Other, 1976

No Other is the last in a series of works Lijn called Rites of Passage. These sculptures were dramas celebrating the moments of passage between different states of consciousness.
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Lines, 1976

Lijn is interested in the way a reflected line of light describes the altered surface of the cylinder.
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Thisthat II, 1975

Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
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Thisthat, 1975

Lijn was fascinated by the use of prisms as tools for vision in both industry and war. Here were materials which were used both for destruction and creation. Not only that, they were real tools for vision, enabling people not only to see and sight from within bind boxes, but also to see within solid matter by analysing the spectrum of light given off by gases, for example in distant stars.
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Even Five, 1976

Koan is a Japanese word for a paradoxical riddle given to young Buddhist monks as aids for meditation. Koans are a continuous theme in Lijn’s work.
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