Music Children, 1996

Whether Lijn 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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Darker Me, 1995

Darker Me references to Eros and the instinctual drives so often suppressed in women. It is Liliane Lijn's first self portrait.
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Inner Light I, 1994

Having made Inner Light in 1993, a large public work in Reading in which light was virtually imprisoned in stone seeping through a thin gap, Lijn wanted to make a work in which light infused the stone.
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Regal Head, 1987/1990

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Armoured Head, 1990

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Bridal Wound, 1986-90

The Torn Heads series was an expression of pain and suffering, and the rupture of the head was a liberating act for Lijn. Instead of the solid geometric prism, a seeing transforming manmade tool, the head became a container of breath.
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Folded Koan, 1990

Liliane Lijn has been drawing soft conical forms for some time. Thinking of fan shaped open cones led to folded cones. This also came from making paper models for large-scale sculptures. Cones began to change into pyramids, obelisks and variations on these shapes.
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Electric Bride, 1989

The figure of the Electric Bride stands in a steel enclosure, which separates her from our world. Electric Bride and the cage are connected by an electric current, which is made visible in the form of 9 red-hot wires. A glass head pulses with strobe light and a whispered text is heard.
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O Lily Lilith, 1987-1990

Lijn began to experiment in the factory using colour and blowing the glass into metal which wrapped itself around the molten forms, taking on the patterns of the spinning motion used when blowing glass.
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Torn Head, 1987-1990

The change from solid optical glass prisms to hot blown glass marked a shift in Lijn's work from the purely metaphorical to the intensely personal. Whereas Lijn's Prism Heads transformed light, her Torn Heads expressed emotion.
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Headborn, 1987 – 1990

The title of this sculpture implies birth from the head. The word conception means both birth and idea, conceiving in the womb and in the mind.
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