Red Coil Head, 1984-1985

Lijn sees Head-Dresses as extensions of the Head. Anything worn on the head is also part of it and expresses it’s powers and restrictions. As in the veil or the mask worn by women to conceal and suppress them.
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Her Ear Her Mouth, 1984

This head like the ears of the earth listens to the stars.
 This head can be worn and become part of you.
 This head is to the body as the mountain to the earth.


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Gemini, 1984

In Gemini Lijn returned to the fascinating liveliness of springs. The sculpture is both held in tension like a spring and uses springs humorously as a relief from tension.
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Lines of Power, 1983

Lijn was interested in the way a reflected line of light describes the altered surface of the cylinder and gives precise information about any changes made to its surface.
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Lady of the Wild Things, 1983

Lady of the Wild Things is a lunar archetype. Her light side, arrayed in red and green, a constant reminder of opposites, is showy and seductive and activated by sound. Her dark side, often unseen and acknowledged, is both threatening and all embracing.
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The Illusory Web, 1982

Liliane Lijn, use the properties of holography as a natural progression from her work in kinetics and light. Lijn deliberately cut up plates and carefully repositioning the pieces. Her subject matter of fine wire mesh curved to create moiré patterns continues a theme that she began before she discovered holography, and the mutilation of the plates reflects her dislike of presenting images in depth.
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Soft Koan, 1981

Soft Cone is one of a group of sculptures which Lijn originally made in clay. She was particularly interested in the energy transferred from her hands to the clay.
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Windows, 1980

This figure owes its title to Lijn's interest in the function of windows, and to the metaphor of the prism as a window into matter.
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Heshe, 1980

With Heshe Lijn took the plunge into colour. As well as showing her interest in tactile surfaces rather than painted sculpture.
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Saurian, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Nahhash, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Moonbrow, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Lenscape, 1978

The Prism Stone series continues Lijn’s work exploring the possibilities in which extreme opposites can come together and embrace one another in a strange but fruitful synergy.
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Four Figures of Light, 1978

These figures are human scale and are meant to be seen in relation to men and women. When Lijn made them she realised that she was going to try to find a new human image.
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