Lilian Lijn, at age eighteen in 1958, became part of the Surrealist circle in Paris. Though the movement was fading, Lijn took a distinct path, focusing on cerebral kinetic sculptures from the 1960s to 1970s, exploring themes like dematerialization and the intersection of light, motion, and identity. Her iconic 'Poem Machines' use motors and kinetic energy to animate text, prompting the viewer to encounter the essence of meaning. In reflecting her experience as a woman in a male-dominated art scene, she navigates a creative journey that juxtaposes bodily identity with intellectual exploration.
Lijn's work, particularly her 'Poem Machines,' explores themes of duality in identity through movement and text, encouraging the viewer to engage with ephemeral meaning.
Reflecting on her experiences as a woman in a male-dominated field, Lijn articulates a powerful tension between embodying one's identity and reclaiming intellectual agency.
Through her kinetic sculptures, Lijn examines concepts of dematerialization and the potentialities of light and motion, revealing the intersection of art with physics.
Lijn’s artistic journey embodies a shift from physicality to cerebral engagement, illustrating her transition into a realm where the mind's exploration surpasses corporeal constraints.
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