
Koancut (Rosewood), 1971
Koancuts are interactive sculptures. They invite the public to play with them and react with unexpected transformation.
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Koancut (Bronze), 1971
Koancuts are interactive sculptures. They invite the public to play with them and react with unexpected transformation.
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Tilt, 1970
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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Small Spring Ritual, 1970
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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Bubble Tower, 1969
Bubble Towers were initially made as toys, but were shown to be very complex and unpredictable in their fluid dynamic aspects.
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Anti-Gravity 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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Red Linear Light Cylinder, 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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See Thru Koan, 1969
This Koan combines Lijn’s interest in the relationship between the material and the immaterial and the paradoxical nature of reality. The apparently solid cone is layered with emptiness.
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White 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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Wedges, 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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Transparent Bishop, 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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Thru the Looking Glass, 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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Salute to Spectra Messenger, 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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