Flip & Two Twisters

Unless you can keep trying to find something that’s simply fascinating to you there’s not much point ... so wait until you’re in the mood ... and you find a piece of steel ... and you might go [rolls steel] like this with it, and roll it about ... and you gradually get the grip of an idea.

– Len Lye on the importance of getting in the mood

I’m composing figures of motion - and I’m composing them out of very springy spring steel.

– Len Lye on his process

I see my role as keeper of the collection — that is to try and preserve the intention of Len Lye as faithfully as possible, to try and keep those works performing as he intended them to perform. All of the pieces of metal that twirl in space, or shake or vibrate, all of those things that we see publicly are to be kept as close to the original works as is humanly possible.

– Evan Webb, sculptor at the Len Lye Foundation on preserving Lye’s works

My work I think is going to be pretty good for the 21st century. Why the 21st? It's simply that there won't be the means until then, I don’t think there will be the means to have what I want.

– Len Lye, on where he sees his art in the future

A very, very good artist is forward projected about 50 years, but I think Len went a lot further than that and I don’t really think he’s discovered yet. I think he's just started to come into his own in his work, and so he didnt waste too much of his time building it. He really got into imaging it, so for me he's a Leonardo da Vinci figure.

– Artist Max Gimblett on Len as a forward-thinking artist

Most of the works in the collection are models for much larger works and part of my job is to find ways of building those to the scale that Len Lye really wanted them: outdoor, monumental, huge.

– Evan Webb, sculptor at the Len Lye Foundation on realising Lye’s artistic vision