As a student, Lye became convinced that motion could be part of the language of art, leading him to early (and now lost) experiments with kinetic sculpture, as well as a desire to make film.

Lye was also one of the first Pākehā artists to appreciate the art of Māori, Australian Aboriginal, Pacific Island and African cultures, and this had great influence on his work.

It was made by painting vibrant abstract patterns on the film itself, synchronizing them to a popular dance tune by Don Baretto and His Cuban Orchestra.

In various films he used a range of dyes, stencils, air-brushes, felt tip pens, stamps, combs and surgical instruments, to create images and textures on celluloid.

He was a friend of Dylan Thomas, and of Laura Riding and Robert Graves (their Seizin Press published No Trouble, a book drawn from Lye's letters to them, his mother, and others, in 1930).

The NZEPC (New Zealand Electronic Poetry Centre) website contains a selection of Lye's writings, which are just as surprising and experimental as his work in other media.

Many of his kinetic works can be found at the Govett-Brewster Art Gallery in New Plymouth, Taranaki including a 45-metre high Wind Wand near the sea.

In 1977, Len Lye returned to his homeland to oversee the first New Zealand exhibition of his work at the Govett-Brewster Art Gallery at that time under the directorship of Ron O'Reilly.

He is also remembered for his colourful personality, amazing clothes, and highly unorthodox lecturing style (he taught at New York University for three years).

[13] In 1971 artist Ray Thorburn met with Len Lye and on his return to New Zealand attempted to arrange an exhibition at the National Art Gallery but was rejected.

[14] In 1977 Hamish Keith, Matthews and Thorburn set in motion the formation of a non-profit foundation and in 1980 a Trust Deed resulted in the Len Lye gift to the gallery.