After five years of standing high above Wellington, Quasi — a 16-foot sculpture of a hand with an unsmiling human face — is leaving its rooftop perch on the City Gallery this week. Created by Australia-based artist Ronnie van Hout, Quasi became an unconventional feature in New Zealand’s capital city, inspiring responses that ranged from fascination and humour to discomfort and even aversion.
The enormous hand, named in part for Quasimodo from Victor Hugo’s The Hunchback of Notre-Dame, was first displayed in Christchurch in 2016, where it received a mixed reception. Some locals appreciated its eccentric presence, while others found it unsettling. One editorial in a local newspaper even argued that Quasi should be removed, pointing out that its extended fingers appeared to point menacingly at passersby. Van Hout, in response to the mixed reactions, noted at the time, “Perhaps the monster just wants to be loved.”
Constructed of steel, polystyrene, and resin, Quasi is based on scans of van Hout’s own hand and face. When it was moved to Wellington in 2019, it immediately drew attention, with some residents questioning why the city had installed such an unusual artwork. “I won’t say the city unanimously hated him, but I reckon 80% were like, ‘What is this monster?’” said Wellington City Councillor Ben McNulty. Over time, though, many Wellingtonians began to warm up to Quasi.
“It’s disturbing, but it’s also a staple of Wellington now,” said Anja Porthouse, a resident who frequently brought friends and family to see the sculpture. For McNulty, the city’s acceptance of Quasi represents a shift in public opinion. “There’s a sort of pro-Quasi group, which I consider myself part of,” he added.
The sculpture will be lifted off the gallery roof by helicopter on Saturday and taken to an undisclosed location in Australia, marking the end of its stay in Wellington. “Everything comes to an end eventually,” van Hout commented, adding with a sense of irony, “Even Lovecraftian nightmares have to return to where they came from.” On social media, the news spurred an array of responses, from disappointment and relief to humour, with some Wellingtonians joking that Quasi’s removal might lift the “curse” they associated with the sculpture’s presence.
Over the years, Quasi has witnessed many of Wellington’s trials, from issues with earthquake-prone buildings and troubled infrastructure to political divisions within the city. Jane Black, head of the Wellington Sculpture Trust, remarked, “He will be missed,” reflecting the growing affection for Quasi among locals. Not everyone, however, will mourn the sculpture’s departure. “I’ll personally be pleased to see it head somewhere else for a change,” said Wellington’s mayor, Tory Whanau.
Some residents speculated about where the sculpture might end up, with one social media user jokingly suggesting it was headed to The Hague. In Civic Square, where Quasi has resided, passersby paused to take final photos of the giant hand and share their own memories of the sculpture. “This is either a great day for Wellington or a terrible day for Wellington,” McNulty commented, acknowledging the strong divide in public opinion. “There’s not much view in between.”
For many residents, Quasi’s departure marks the end of an era for Wellington’s skyline. While it may have unsettled some, it undoubtedly left an impression, with its peculiar expression and towering stance over the city. Whether remembered fondly or with a hint of relief, Quasi has become a part of Wellington’s story. As it prepares to leave the gallery, it leaves a void and a space for reflection, even for those who initially opposed its presence.
