Revealing, 2001

In this series of text works, Lijn wants words to be interchangeable with colour. Whether she works with a poet’s words or her own text, she wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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Divided Self, 2001

Divided Self invites one to think of oneself as partly transparent, open, knowable and partly opaque and unfathomable. One thinks of the Self as whole whereas the individual psyche can fragment into innumerable figures, a cast of thousands.
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Table, 2000

This table is part of a series of functional works Lijn created after seeing an exhibition of Diego Giacometti's furniture in the early 1980s.
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Rainforest Wall, 2000-2001

At the moment in which negative and positive come together the pattern becomes invisible or dissolves into nothing, just as in physics when negative and positive particles meet. Lijn managed to use the thickness of the glass to keep the image just visible during the transition.
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First Words, 2000, published by Lightline Press & Gefn Press, London 2000

19 laminated full-colour cards held in a plastic slipcase with flower hairband. Liliane Lijn contributed First Words to the Volumes (of vulnerability) project, published by the Gefn Press in 2000. Curated by Susan Johanknecht and Katharine Meynell, the project is a portable "gallery" housed in an aluminium tin containing 23 artists' books. Lijn’s plan is to collect 2000 first words: a word for each year since the birth of Christ.
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Fire my Soul, 2000

Fire My Soul is concerned with human suffering. The experience of a masectomy, the fear of death, and the mutilation of the female body. In this sculpture Lijn salutes all women who have been struck by breast cancer. It is a memorial to their suffering and to their strength.
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Weapon of Time, 1999

Liliane Lijn has created sculptures based around the form of the koan since the sixties. This body of work, within her whole practice, is subject to great variety and subtlety.
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Time’s Rhythm, 1999

Lijn wants words to be interchangeable with colour. Whether she works with a poet’s words or her own text, she wants the words to float into the viewers mind in continually changing sequences. Meaning, like a river, is always in flux.
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