Lili Dujourie embarked on her artistic career in the early 1970s, when Minimalism held sway in the United States and Europe. Her first works adhered to the aesthetic principles of Minimalism but went beyond the simple precepts that guided the movement. Amerikaans Imperialisme (1972), a work from this early period, challenges the artistic codes that were dominant at the time, which lacked any sense of social engagement and prevented criticism of the West’s unfair policy towards the Third World. Her work, primarily video and sculpture, has evolved through several stages, always striking a balance between memory—based on elements that Dujourie borrows from other artists, particularly Baroque creators—and her own personal input. In the 1980s, she won international acclaim for her works in velvet, which alluded to the tonalities of seventeenth-century Flemish painting, and her use of other evocative materials such as mirrors, marble and wood. Most of these works, whose titles offer vital clues to their interpretation, deal with the idea of beauty. In the 1990s, the Belgian artist returned to the communicative cogency provided by the narrower colour spectrum of her metal sculptures, usually still lifes that invoke ambiguous metaphors. Dujourie lives in Lovendegem, Belgium.