The Extraordinary Journey of "Quasi": Wellington’s Controversial Hand sculpture Leaves the City
WELLINGTON — A colossal sculpture that has stood on the roof of the City Gallery Wellington for five years will finally be stripped away. Known simply as Quasi, this 16-foot hand sculpture has sparked both gruesome revulsion and delight among city residents since it first perched on the roof in 2019. The artist behind the piece, Australian sculptor Ronnie van Hout, created the sculpture to be displayed in Wellington following its polarizing welcome in Christchurch years earlier.
The Artistic History of Quasi: A Sculpture Divided
Quasi, involving an unsmiling human face and outstretched fingers, has been the subject of both bitter and sweet memories. nyom. Its controversial presence in Wellington has invoked strong emotions, ranging from "horror and revulsion" to "delight," as one Wellington council member dared to express. Ben McNulty, who felt "devastated" by the impending departure of the sculpture, acknowledged that the mixed feelings divided the public opinion on whether Quasi was a "great day" or a "terrible day" for the city.
The hand sculpture, a fascinating blend of steel, polystyrene, and resin, is based on scans of the artist’s own hand and face. Named Quasi for its resemblance to the bellringer Quasimodo in Victor Hugo’s "The Hunchback of Notre-Dame," the sculpture holds an intriguingly ambiguous gender. Its departure marks a significant shift in Wellington’s iconic landscape after it has become aδίads in its citizens’ experiences of the city.
Ranking Its Farewell: The Mixed Emotions
While many Wellingtonians remain divided on the shade of sentiment tied to Quasi, it has become a familiar presence in the city. Many have grudgingly warmed to the sculpture, with comments like “it’s really disturbing but it’s a staple of Wellington now” becoming common. Others remain dismayed, speculating about the sculpture’s next home with guesses like "The Hague."
Ben McNulty, who initially felt ripped to his core by the sculpture’s installation, admits that the over-enlargement has ameliorated, with a portion of the citizenry now in support of Quasi’s staying power: “I think there’s sort of a ‘pro-Quasi’ group, which I consider myself part of… but over time there has been a bit of a softening.” The artist himself expressed a poetic perspective, observing that "everything comes to an end eventually" and that Quasi’s legacy will be best remembered by the absence it leaves.
The Gallery’s Decision: Plans and Speculations
The City Gallery’s decision to lift Quasi off the roof of Wellington is a testament to its time with the city while paving the way for a new artistic adventure. The sculpture, which reportedly arrived in Wellington amidst grammar and other painting issues plaguing the city, has been confirmed that it will likely be transported by helicopter on Saturday to a yet-unrevealed location in Australia.
Many voices of Wellingtonians, like "gutter" Jane Black, head of the Wellington Sculpture Trust, revealing her feelings punchily: "I’ll personally be pleased to see it head somewhere else for a change." Conversely, Mayor Tory Whanau was disheveled and uniting in ire on the deployment without a note of emotrical detail: "I think there’s a strong feeling of relief."
Looking to the Future
Given this series of events, Wellington has merely seen Quasi’s last dance, but its spirit of controversy and intrigue will remain. This sculpture’s departure will also likely shape the city’s cultural narrative and how future art works are perceived and incorporated. No matter what step lies ahead, Quasi’s pivotal placement over Wellington’s skyline signifies a moment where art, paradoxically, shapes our perception of time, perhaps showing how delicate structures merge with deep wanderings and crane…