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tall, more than 32ft high, concrete walls of four rings. Fitted with different history from the earliest Māori settle-
to the left-hand side of the entrance mechanisms, the sculptures swirl, vi- ments to the unique flightless birds
and gentle noises in the distance lure brate, shudder and sway into various that roam New Zealand’s forests. On
me to walk on. The globally significant figures and patterns of movement un- the lower ground level temporary ex-
Len Lye collection and archive com- der colored lighting and accompanied hibitions are staged and just my luck,
prises more than 18,000 items of by carefully selected soundtracks. during my visit “Bugs – Our Backyard
which many paintings, writings, films, Leaving the Len Lye Centre in a Heroes” is on. I cannot stifle a small
and photography are on display. I am daze, I continue to Puke Ariki, a white moan of disgust at the sight of live
particularly fascinated by the kinetic steel, metal, glass and concrete extrav- crickets, cockroaches, and Eugene, the
sculptures made of steel springs, rods aganza which is museum, library and giant poisonous centipede, in glass
and bands. For one sculpture, Round- visitor information center in one. Four containers, but children love it, a staff
head, Lye even used his second wife’s, permanent exhibitions cover Tarana- member assures me.
Ann, wedding band as the innermost ki’s natural, geological and human

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