High Nine, 1974

In this series of work Lijn was interested in the way a reflected line of light describes the altered surface of the cylinder.
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Frosted Koan, 1974

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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See Thru Koan III, 1976

This Koan combines Lijn’s interest in the relationship between the material and the immaterial and the paradoxical nature of reality. The apparently solid cone is layered with emptiness.
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Through Another Eye, 1974

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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Infinite Zero, 1974

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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Quantum 1, 1974

The image is of the Trombay nuclear power station, which made headlines that year due to India exploding its first nuclear test bomb. Lijn had cut the photo from the newspaper about a year before the uproar, intrigued by the forms of the power station. It is a sequel to her set of Industrial Landscapes.
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Threes, 1974-1975 / 1990

Threes, is a group of six similar sculptures which can be arranged to occupy a space in changing configurations. The different juxtapositions influence the way the movement of each cylinder is perceived in relation to the others.
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Landlines, 1973

Inspired by a trip through the French Alpilles, during which Lijn watched the horizon continually change shape, she decided to make a 2 dimensional artwork which would be an image of continual change.
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In the Valley of Darkness, 1973

This is the first of Lijn's works that speaks about Light contained within Darkness. The idea of light within darkness, or spirit within matter is central to her work.
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Forcefields, 1970-1972

In the late 60’s Lijn began experimenting with Letrafilm on paper. In this series, Lijn uses simple forms and much like her series Flowlines, the works explore the relationships between these forms. Through layering the Letrafilm, Lijn is able to create different dimensions and subsequently depth to the image. 
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In Sua Memoria, 1972

The first in a series of works called Rites of Passage, In Sua Memoria is a memorial to Lijn’s father who fell ill and died while she was making the sculpture.
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