Dominating the Wellington, New Zealand skyline for the past five years has been a colossal hand sculpture named Quasi. Perched precariously on the fingers of an art gallery’s roof, this 16-foot creation by Australian sculptor Ronnie van Hout has sparked a whirlwind of emotions amongst the city’s inhabitants.
From horror and repulsion to sheer delight, Quasi’s unsmiling visage – a blend of van Hout’s own hand and face – has been a polarizing presence. Now, after a five-year reign, this unsettling artwork is set to be removed from its prominent location this week.
The sculpture’s journey began in Christchurch, New Zealand, where it was met with fierce criticism. Local newspapers published opinion pieces denouncing its presence, citing its unsettling finger pointed at passersby as a cause for concern.
“Perhaps the monster just wants to be loved?”, van Hout wryly responded to the backlash.
By 2019, Quasi had found a new home atop the Wellington gallery. While initially met with apprehension, the colossal hand gradually won over the hearts of many locals.
“At first, people were like, ‘What is this monstrosity? What have we done?'” recounts Wellington city council member Ben McNulty, who admits to feeling “devastated” by Quasi’s departure. “But over time, a pro-Quasi movement emerged, and I’m proudly a part of it.”
Wellington residents gathered at Civic Square, the site of the gallery, shared their fondness for the sculpture.
“It’s undeniably unsettling, yet it’s become an iconic part of Wellington,” says Anja Porthouse, who mourned its impending removal.
On Saturday, Quasi will be hoisted from its rooftop perch by helicopter and transported to an undisclosed location in Australia.
“Every era comes to an end,” reflects van Hout. “While it may be missed, even Lovecraftian nightmares have to return to their origins. Now you are left with an absence to ponder.”
Reactions to the news on social media were diverse – a mix of sadness, glee, and humorous conjecture about the curse that local lore has attached to Quasi being lifted.
McNulty notes that the sculpture presided over Wellington during some of its most challenging times – from earthquake-prone buildings and widespread plumbing issues to political divisions.
Speculation swirls about Quasi’s future destination. Some jokingly suggested The Hague as a fitting location.
While Jane Black, head of the Wellington Sculpture Trust, laments its departure, Wellington Mayor Tory Whanau harbors a sense of relief: “I think there’s a strong feeling of relief.”
L reactions were mixed, many began to embrace the sculpture as an iconic part of the Wellington skyline. Tourists flocked to snap photos of Quasi, and locals started to incorporate it into their daily lives, using the sculpture as a reference point and a source of local pride. Its location on the rooftop transformed it into a landmark that engaged viewers in conversation, stirring debates about art, perception, and the nature of beauty.
The artist, Ronnie van Hout, intended for Quasi to provoke thought and evoke strong emotional responses, and it certainly fulfilled that purpose. Its grotesque yet fascinating design, resembling a giant hand with a face that seemed to express a myriad of emotions, compelled observers to ponder their own interpretations. Some saw it as a commentary on isolation and vulnerability; others perceived it as a playful challenge to societal norms regarding aesthetics in public spaces.
Despite the initial pushback, Quasi’s presence became integral to the Wellington art scene. The artwork inspired numerous discussions around contemporary art and its place in urban environments, with supporters advocating for more daring projects that could elicit similarly strong reactions. Local events, art walks, and guided tours often included the sculpture as a highlight, showcasing its cultural significance over the years.
In the lead-up to its removal, many residents took to social media to express their fondness for Quasi, comparing its upcoming departure to saying goodbye to a long-standing friend. Its unsettling charm had won over a significant part of the community, and its disappearance left a palpable void in the bustling city.
As Quasi prepares to step down from its elevated perch, discussions abound regarding its legacy. Will it be replaced by another piece of art, or will the space remain empty, inviting speculation about what might come next? For now, though, the towering hand will soon be nothing more than a memory, leaving behind a trail of mixed emotions in a city that has grown to appreciate its unique presence amidst the vibrant Wellington skyline.