No Chess Yet, 1969
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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Master Switch, 1969
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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Five Point Triangle, 1969
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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Cosmic Choice, 1969
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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Black Gnomon, 1969
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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Linear Light Column, 1969
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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Koancuts (Letrafilm), 1969
Part of the series of works in which Lijn segmented cone forms, these translucent cut letra-film collages relate both to the larger Koan sculptures and to the Koancut silkscreen print series.
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Silver Ziggurat, 1969
The cylinder revolves at a constant speed, allowing the entire surface of the form to be seen by an immobile viewer in one continuous flow.
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Space Displace Koan, 1969
The koan spins slowly at a constant speed; so that the viewer’s eye focuses on the lines, which in turn appear to dissolve the volume of the sculpture.
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Exit Matter Koan, 1969
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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Breathing Cone, 1968
In Breathing Cone the blue area pulsates as the cone spins, slowly, as if the cone were breathing.
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Protons Are Positive, 1968
"Words float on its almost invisible skin and spin into space." Lijn
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Poemkon = D = 4 = Open = Apollinaire, 1968
Commissioned for Guillaume Apollinaire 1880-1918: A Celebration, Institute of Contemporary Arts, London, 1968.
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Homage to Charlie Parker, 1968
Lijn wanted the word to be seen in movement, dissolving into a pure vibration until it became the energy of sound.
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Green Line Cone, 1968
In Green Line Cone and in Breathing Cone Lijn found that by altering the way she passed light through Perspex, either through the edge or through the sheet, the quality of light changed dramatically.
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E=mc3, 1968
Text collaboration between Liliane Lijn and Nazli Nour.
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