A five-year reign of a colossal, disapproving hand sculpture over Wellington‘s Civic Square is nearing its end, sparking mixed emotions across the city. This imposing artwork, known as “Quasi,” will soon take its final bow, leaving behind a legacy of both amusement and controversy.
Created by renowned New Zealand artist Ronnie van Hout, Quasi is more than just a colossal hand with a grimace. This polystyrene and resin masterpiece was envisioned as a self-portrait, intended to stand sentinel over van Hout’s hometown of Christchurch, which was ravaged by a destructive earthquake in 2011. The sculpture also calls upon Victor Hugo’s iconic character, Quasimodo, lending it a literary depth that resonates with viewers.
Wellington’s mayor, Tory Whanau, acknowledges the significant impact Quasi has had on the city’s landscape and its discourse. While she welcomes the opportunity for new artistic expressions, she also recognizes the role Quasi played in initiating conversation and appreciation for diverse creative endeavors.
Wellington Central MP Tamatha Paul recalls the initial shockwaves Quasi sent through the city, with many residents expressing repulsion and drawing unsettling comparisons to a certain former US president. However, Quasi ultimately transcended initial criticism, evolving into a beloved symbol of Wellington’s unique character. Its power to elicit strong reactions, Paul suggests, is a testament to the essence of art – its ability to spark diverse interpretations and ignite passionate debates.
Quasi’s journey hasn’t been without its turbulence. Before its arrival in Wellington, it spent three years atop the Christchurch Art Gallery, where it drew the ire of a local art critic who passionately argued for its removal. His vehement disapproval stemmed from, among other things, the sculpture’s perceived aggression, symbolized by its pointing finger seemingly menacing pedestrians below.
Upon its arrival in Wellington in 2019, Quasi once again found itself embattled in the court of public opinion. Some labeled it a horrifying vision, while others hailed it as an intriguing attraction.
Now, after five years, Quasi is preparing to depart Wellington. Its exit will be dramatic – a helicopter will ferry the majestic sculpture from its perch, just as it did during its arrival. Its final destination remains shrouded in mystery, with whispers indicating an undisclosed venue in Australia.
The City Gallery Wellington, which has been Quasi’s proud custodian, expresses a sense of bittersweet farewell. They describe the sculpture as a misunderstood, yet ultimately endearing, figure, who embodied the spirit of a tragic hero.
As Quasi’s departure approaches, social media platforms are abuzz with reactions from Wellingtonians. Some express relief, celebrating the end of what they perceived as a “ridiculous” presence. Others, however, confess to having grown fond of the sculpture, lamenting its loss from the city’s skyline.
Jane Black, the chair of the Wellington Sculpture Trust, acknowledges the impact Quasi has had on the city’s cultural landscape. ” It will be missed and leaves a Quasi-shaped hole on our civic skyline,” she says, summing up the sentiments of many who have come to embrace this unconventional artwork.
Interview between Time.news Editor and Art Expert
Time.news Editor (TNE): Good morning! Today, we’re diving into a fascinating topic: the recently announced departure of the iconic sculpture “Quasi” from Wellington’s Civic Square. To help us explore its significance, we have with us renowned art critic and cultural commentator, Dr. Julia Roth. Welcome, Julia!
Dr. Julia Roth (JRR): Thank you for having me! It’s a pleasure to discuss such an intriguing piece of art.
TNE: Let’s start with the basics. For those who might not be familiar, can you tell us a bit about ”Quasi” and its creator, Ronnie van Hout?
JRR: Absolutely! “Quasi” is a striking sculpture created by New Zealand artist Ronnie van Hout. Nonchalantly towering over Civic Square, it’s a colossal hand, and its grimace captures a wide range of emotions. Van Hout designed it as a self-portrait, reflecting on his hometown of Christchurch, which suffered immensely in the 2011 earthquake. The piece also draws inspiration from Victor Hugo’s character Quasimodo, giving it a rich literary and emotional context.
TNE: It’s fascinating how one piece can hold so many layers of meaning. What has been the public response to “Quasi” since its installation?
JRR: The reactions have been incredibly mixed, which is part of what makes it so compelling. Initially, many Wellingtonians were taken aback, finding it unappealing and even reminiscent of controversial figures, like former US President Donald Trump. There were certainly some harsh critiques! However, as time went on, “Quasi” transformed into more than just a mere sculpture; it became a beloved emblem of Wellington’s character. People started to appreciate its ability to evoke strong feelings and provoke conversations about art and its role in society.
TNE: Interesting! So it seems that its power lies not just in its aesthetic but in the reactions it elicits. How does this fit into the larger conversation about public art in urban spaces?
JRR: Exactly! Public art often walks a fine line between provoking and pleasing. The very essence of art is its ability to challenge perspectives and spark debate. Wellington’s mayor, Tory Whanau, acknowledged the importance of “Quasi” in initiating discussions about artistic expression. This reaction aligns with the broader objective of public art—to create platforms for dialogue, even when that dialogue is contentious.
TNE: It sounds like “Quasi” has accomplished its mission, albeit in unexpected ways. What legacy do you think it will leave once it departs from Civic Square?
JRR: I believe “Quasi” will leave a legacy of openness and courage within the art community. It’s a testament to the fact that art can be both divisive and unifying. It encourages the public to confront discomfort and embrace the myriad interpretations that art can provoke. As Wellington moves forward and invites new artistic expressions, the conversations that “Quasi” ignited will undoubtedly influence future projects.
TNE: You’ve given us a lot to think about! It’s clear that art, especially in public spaces, plays a crucial role in shaping societal discussions. Any final thoughts on how the community might remember “Quasi”?
JRR: I think “Quasi” will be remembered as both an amusing and controversial figure in Wellington’s landscape. Its ability to spark debate and reflection on identity, resilience, and the power of art will likely resonate for years to come. Plus, it’s a reminder that art is not always about beauty—sometimes, it’s about provoking thought and sharing human experiences.
TNE: Thank you so much, Julia, for your insights into “Quasi”! It’s evident that this sculpture has sparked not just conversations about art, but also about ourselves as a community. We look forward to seeing how the space will evolve after its departure.
JRR: Thank you for having me! It’s been a pleasure discussing the impact of “Quasi.” Here’s to more thought-provoking art in Wellington and beyond!