A New Zealand City Bids Farewell to Beloved Giant Hand Sculpture

WELLINGTON, New Zealand (AP) — For the past five years, the enormous hand sculpture named Quasi has dominated the skyline of Wellington, New Zealand, perching precariously upon the roof of the City Gallery.

Created by Australian sculptor Ronnie van Hout, this 16-foot (almost 5 meters) artwork features a stern human face, prompting a mixed bag of reactions from locals ranging from admiration to outright horror.

Originally displayed in Christchurch in 2016, Quasi stirred up considerable debate, leading to an opinion piece in a local newspaper arguing for its removal. Critics claimed its outstretched finger gave an impression of aggressive provocation towards pedestrians. In response, van Hout remarked, “Perhaps the monster just wants to be loved?”

In 2019, Quasi found its new home in Wellington, where it gradually began to win over some of its initial detractors. City Council member Ben McNulty noted that while most residents initially questioned the sculpture, sentiments shifted over time, with a growing group of supporters emerging.

This week, the City Gallery announced that Quasi would be removed from its rooftop, eliciting a wave of mixed emotions among the public. “This is either a great day for Wellington or a terrible day for Wellington, and there’s not much view in between,” McNulty expressed, personally feeling “devastated” by the impending departure of the sculpture.

Quasi, crafted from steel, polystyrene, and resin, was inspired by scans of van Hout’s own hand and face, which is partially why some have interpreted its gender as male, drawing a parallel to Quasimodo, the famous bell-ringer from Victor Hugo’s “The Hunchback of Notre-Dame.” A helicopter will remove the giant hand on Saturday, transporting it to a new undisclosed location in Australia, as confirmed by the gallery.

Interestingly, Quasi has become a fixture of Wellington, especially during turbulent times for the city, including issues surrounding earthquake-prone structures, widespread plumbing challenges, and political strife. Many residents now see it as a staple of their city, with one local, Anja Porthouse, stating, “It’s really disturbing, but it’s a staple of Wellington now,” as she and her family expressed their sadness over its departure.

As news of Quasi’s removal spread on social media, responses ranged from sadness to humor, with some jokingly guessing about the sculpture’s future whereabouts—one New Zealander quipped that Quasi would be headed to The Hague. Jane Black, the head of the Wellington Sculpture Trust, remarked, “He will be missed.” In contrast, city mayor Tory Whanau conveyed relief, saying, “I think there’s a strong feeling of relief.”

Reflecting on the giant hand’s legacy, van Hout pointed out, “Everything comes to an end eventually… even Lovecraftian nightmares have to return to where they came from, and now you only have an absence to reflect on.” As Quasi prepares to leave, Wellington residents look back on its controversial yet impactful presence in their city.