A giant hand sculpture named Quasi, which has loomed over Wellington, New Zealand, for five years, will soon be removed and relocated to a new home in Australia.
The 16-foot creation of Australian artist Ronnie van Hout stirred controversy upon its arrival in 2019. With an unsmiling human face and outstretched fingers, Quasi was described by some as disconcerting and even hostile. A local op-ed piece even called for its removal.
However, over time, the sculpture grew on many Wellingtonians. Ben McNulty, a city council member, described a gradual shift from dislike to affection, even forming a “pro-Quasi” group. Anja Porthouse, a Wellington resident, shared this sentiment, admitting she was “gutted” to see Quasi leave.
The sculpture’s departure, planned for Saturday via helicopter, has sparked a mix of emotions. Some mourn its loss, seeing it as a symbol of the city’s recent challenges. Others expressed relief.
Quasi’s legacy will remain. As van Hout aptly put it, “Everything comes to an end eventually… even Lovecraftian nightmares have to return to where they came from.”
While the sculpture’s new location remains a secret, speculation abounds. Some jokingly suggest The Hague, while others believe it will be welcomed in a new setting and appreciated for its unique artistry.
Interview with Ronnie van Hout: The Creator of the Iconic Quasi Sculpture
Time.news Editor: Welcome, Ronnie van Hout! We are excited to discuss your renowned sculpture, Quasi, which has captured the hearts and minds of Wellingtonians over the past five years. First, can you tell us about the inspiration behind Quasi?
Ronnie van Hout: Thank you for having me! Quasi was inspired by the duality of human emotions and the complex relationship we have with art. Its unsmiling face represents a certain existential tension, which I hoped would evoke strong reactions—both positive and negative. It’s fascinating how art can challenge or unsettle us, provoking deep conversations.
Time.news Editor: Quasi was met with mixed feelings upon its arrival in 2019. Some described it as disconcerting or even hostile. How do you feel about the initial controversies surrounding the sculpture?
Ronnie van Hout: At first, I was taken aback by the negative reactions. However, I believe that art is often a catalyst for dialogue. The controversy paved the way for people to reflect on their perceptions of art in public spaces. It’s wonderful that over time, Quasi became a part of the community rather than an outsider.
Time.news Editor: Indeed, many residents shifted from dislike to affection, even forming a “pro-Quasi” group. Why do you think the public perception changed?
Ronnie van Hout: That change reflects the deepening connection people have with public art over time. Quasi became a landmark and a conversational piece for locals—people shared stories, took photos, and made it their own. Art grows in meaning as it’s woven into the cultural fabric of a place, and I believe Quasi spoke to the resilience and adaptability of Wellingtonians.
Time.news Editor: Quasi’s removal has sparked mixed emotions across the community, with some mourning its departure. What do you think Quasi symbolizes for Wellington?
Ronnie van Hout: Quasi symbolizes the city’s ability to embrace change and challenge norms. It represents a journey through emotions, reflecting both the city’s recent challenges and its resilience. The fact that Quasi has become a source of pride for many speaks to the power of art in uniting communities, even amidst differing opinions.
Time.news Editor: Quasi’s departure is planned for a helicopter relocation to an undisclosed location in Australia. What advice do you have for artists and cities grappling with similar transitions?
Ronnie van Hout: My advice would be to foster a community dialogue about art and its role in public life. When a piece is to be removed, encourage discussions on its legacy, allowing citizens to express their thoughts. This engagement can create a smooth transition and sustain the artworks’ impact.
Time.news Editor: The speculation about Quasi’s new home is intriguing, with suggestions ranging from The Hague to elsewhere. How do you think it will be received in its new environment?
Ronnie van Hout: I hope Quasi will be embraced by its new audience just as it was in Wellington. Different cultures bring varied perspectives, and I believe it will resonate with those who appreciate bold and thought-provoking art. Each installation has the potential to narrate a different story based on the unique context.
Time.news Editor: Thank you, Ronnie, for sharing your insights on Quasi and the emotional journey it has taken with the people of Wellington. As we look forward to the next chapter in its life, we appreciate your contributions to contemporary art and public discourse.
Ronnie van Hout: Thank you! It’s been a pleasure to share my thoughts on Quasi and the broader role of art in our lives.