[4] Utilising original combinations of industrial materials and artistic processes, Lijn is recognized for pioneering the interaction of art, science, technology, eastern philosophy and feminine mythology.

[6] In conversation with Fluxus artist and writer, Charles Dreyfus, Lijn stated that she primarily chose to "see the world in terms of light and energy".

She left school a year and a half before graduating, precipitated by a life-changing encounter with Nina Thoeren, her former classmate, whose mother Manina Tischler was a Surrealist painter.

[8] At the same time Lijn began to draw and paint, (although she did not attend art school), while taking part in meetings of the Surrealist group, where she met the French writer, poet and theorist André Breton.

[11] The writers and poets William Burroughs, Gregory Corso, Sinclair Beiles and Brion Gysin were in the same circle as Lijn, and their book on ‘cut-ups’ entitled Minutes to Go had previously been launched at the Librairie Anglaise in 1960.

At the same time the concrete poetry and music magazine, Cinquieme Saison became a platform for demonstrating renewed experimentations with the word in the neo-Dada atmosphere at the end of the fifties and the beginning of the sixties.

As the curator and art historian Dr Sarah Wilson notes: "Takis took Lijn to Greece – an éblouissment - a dazzling encounter with land, light and sea: with ancient mythologies, with the skin and surface of things versus oracular depth, with passionate love and loss".

[13] Lijn is also known for her drive to "re-encounter the archaic Greek as a form of Western primitivism, as a primordial field of culture and representation for contemporary techno-culture".

[14] In the mid-sixties Lijn and Takis designed and built a circular house at Gero Vouno near Athens, combining many aspects of her work, philosophy and life.

As Lijn stated to video poet and visual philosopher Sarah Tremlett, her aim with her text-based Poem Machines and Koans is to use kinesis to "re-energise the word, to give it back power and fresh meaning".

[16] A White Koan is displayed at the University of Warwick, where it has played a role in many of campus’ myths and legends – it was allegedly the nose-cap of the Blue-Streak Missile (a failed Apollo mission), a supposed quick escape route for senior staff, and even a signalling device for aliens in outer space.

[19] It was during this time that Lijn's interest in Buddhism and in quantum and solid-state physics inspired her to write Crossing Map, an autobiographical prose poem which tracks an invisible human travelling at the speed of light and is illustrated by organic drawings.

By 1971 she began receiving commissions to design and make large public sculptures, such as White Koan, currently located at the University of Warwick campus in Coventry, UK.

Guy Brett, an early curator of kinetic art, states that much of Lijn's work is an attempt to "integrate light (neon, video, fire) with bronze.