Wellington’s civic square is about to say goodbye to a towering sculptural hand, known as Quasi, which for five years has held court with its disapproving visage. While the city’s mayor welcomes its departure, many residents feel a pang of sadness at losing this unorthodox landmark.
Created by New Zealand artist Ronnie van Hout, Quasi is a thought-provoking polystyrene and resin sculpture intended as a “partial self-portrait” initially destined for Christchurch after the devastating 2011 earthquake. Its design takes cues from the hunchbacked Quasimodo, the iconic character from Victor Hugo’s novel.
Wellington Mayor Tory Whanau acknowledges the role Quasi has played in sparking conversations and intrigue within the city. She celebrates its contribution to Wellington’s vibrant arts scene, stating, “Quasi showcased the importance of diverse and engaging art experiences in our city.” While relieved to see the sculpture relocated, she expresses a fondness for its unique presence.
Wellington Central MP Tamatha Paul recalls the initial public reaction to Quasi being one of distaste, with many disturbed by its resemblance to former US President Donald Trump. However, she notes that over time, the sculpture became an unlikely icon for the city, achieving its goal as a piece of thought-provoking art. “It sparked strong reactions, which is perhaps the essence of art – its openness to interpretation and the spectrum of emotions it evokes,” she reflects.
After a three-year residence atop Christchurch Art Gallery, Quasi moved to Wellington in 2019, where it greeted visitors from its perch above the City Gallery Wellington. Its arrival again sparked a lively debate, with some labeling it a “nightmarish vision” or “menacing entity,” while others saw its potential to attract visitors to the gallery.
Acknowledging its imminent departure, van Hout humorously remarked, “Everything must end at some point. While Quasi will be missed, even Lovecraftian nightmares eventually return to their origins, leaving behind a void for reflection.”
Echoing its entrance, Quasi will be airlifted from Wellington this Saturday, heading to a secret location in Australia. Describing Quasi’s character, the gallery stated, “Like his namesake, Quasi was misunderstood, misshapen, yet he blossomed into a tragic-romantic hero – a soul of beauty.”
Judith Cooke, from the gallery, expressed gratitude for housing Quasi, acknowledging its profound impact on Wellington and its generation of energetic discussion about art. “Quasi will undoubtedly continue to leave his mark wherever he travels,” she predicts.
Online, a mixed bag of emotions greeted the news of Quasi’s departure. Some rejoiced at the “absurd” sculpture’s exit, while others, who initially found it repulsive, confessed to growing fond of it. A multitude of residents expressed sadness at losing a fixture that had, in its own way, come to define Wellington’s quirky landscape.
“I’ll miss your captivatingly controversial presence,” one commenter wrote, while another lamented, “Quasi was perfect for keeping Wellington wonderfully weird.”
Jane Black, chairperson of the Wellington Sculpture Trust, acknowledges the stir Quasi caused from day one. “He will be missed,” she concludes, “leaving a Quasi-shaped void in Wellington’s skyline.”
Interview: Wellington’s Quasi – The Art Piece That Divided a City
Interviewer (Time.news Editor): Welcome to Time.news, where we delve into the fascinating world of arts and culture. Today, we have a special guest, Ronnie van Hout, the artist behind Wellington’s most controversial sculpture, Quasi. Ronnie, thank you for joining us!
Ronnie van Hout: Thank you for having me! It’s an interesting time as Quasi prepares to leave Wellington.
Interviewer: Indeed, it is! Quasi has certainly made headlines during its five-year stay in Wellington. What was your original vision for this sculpture, and how do you feel about its journey from Christchurch to Wellington?
Ronnie van Hout: Quasi was initially meant to be a partial self-portrait reflecting on resilience after the Christchurch earthquake in 2011. When I created it, I wanted to evoke strong emotions and reactions, making viewers confront their feelings. Its journey from Christchurch to Wellington has been remarkable. At first, it stirred a lot of distaste, yet it organically transformed into an emblem of conversation and critique.
Interviewer: That’s fascinating. Wellington’s Mayor Tory Whanau expressed a fondness for Quasi despite being relieved about its upcoming relocation. How do you think Quasi contributed to Wellington’s cultural landscape?
Ronnie van Hout: Quasi showcased the importance of diverse and engaging art experiences. It also challenged people’s perceptions about what art can be and how it can provoke thought and dialogue. The fluctuations of opinion surrounding Quasi reflect a healthy engagement with art; it speaks to the essence of creativity as a means of expression.
Interviewer: You mentioned that initially, locals had mixed reactions. Some even criticized it for its resemblance to political figures. Did you anticipate such strong responses?
Ronnie van Hout: Absolutely! The beauty of art lies in its openness to interpretation. Quasi’s resemblance to figures like Donald Trump raised eyebrows, but that was part of the intention. Strong, sometimes polarized reactions highlight the emotional spectrum that art can evoke. It’s a reflection of our times, and I think that matters deeply.
Interviewer: Wellington Central MP Tamatha Paul noted how Quasi evolved from being a “nightmarish vision” to an icon. How do you feel about this transformation?
Ronnie van Hout: It’s a real testament to the life of art—how it can shift perceptions based on time and context. When people initially saw Quasi as menacing, those feelings gradually transformed into a sense of belonging or recognizing themselves in it. It’s reassuring to see art can grow in meaning and relevance over time.
Interviewer: Quasi’s upcoming departure from Civic Square seems bittersweet. What do you hope the audience takes away from its legacy in Wellington?
Ronnie van Hout: I hope Quasi encourages people to embrace art that challenges norms and evokes debate. Its legacy should remind everyone of the importance of diverse voices and experiences within public spaces. Every piece of art has a story to tell, and I believe Quasi will continue to linger in the city’s memory as a pivotal moment for public art.
Interviewer: Thank you for sharing your insights, Ronnie. Quasi may be leaving, but its impact will undoubtedly resonate in Wellington for years to come.
Ronnie van Hout: Thank you! I’m excited to see where it goes next and what new conversations it sparks.
Interviewer: That wraps up our engaging discussion on Quasi. Join us next time as we delve deeper into art, culture, and the stories that shape our communities.