Cuttings, 1961

Cuttings  are negative reliefs. The slices of saw-blade cuts made in a clear Perspex sheet are perceived as solid relief casting shadows on the back surface of the sheet, whereas the solid uncut area of the sheet is perceived as empty. The original concern of these early works was the interchangeability of opposites, i.e. that negative and positive were so close as to be indistinguishable.
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Cuttings, 1961

Cuttings  are negative reliefs. The slices of saw-blade cuts made in a clear Perspex sheet are perceived as solid relief casting shadows on the back surface of the sheet, whereas the solid uncut area of the sheet is perceived as empty. The original concern of these early works was the interchangeability of opposites, i.e. that negative and positive were so close as to be indistinguishable.
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Small Cities, 1961

Lijn was interested in the shadows cast by the empty holes which transformed the negative spaces of the drilled holes into positive forms, creating the illusion of solids. Lijn felt she had created an architecture of the void.
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Solar Cutting, 1961/2005

Cuttings were a development of Lijn’s first experiments with clear acrylic, ‘Fire Lines’, and represent her first attempt to generate an energetic vibration through the use of repetitive elements.
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Cuttings, 1961

Cuttings were a development of Lijn’s first experiments with clear acrylic, ‘Fire Lines’, and represent her first attempt to generate an energetic vibration through the use of repetitive elements.
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Angular Cutting, 1961/2005

Cuttings were a development of Lijn’s first experiments with clear acrylic, ‘Fire Lines’, and represent her first attempt to generate an energetic vibration through the use of repetitive elements.
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Cuttings, 1961

Cuttings were a development of Lijn’s first experiments with clear acrylic; 'Fire Lines', and represent her first attempt to generate an energetic vibration through the use of repetitive elements.
read more