Finger Hill

Did you ever imagine a giant hand, complete with a face, perched atop a building? Here in Wellington, that surreal sight was a reality. For five years, a 16-foot sculpture named Quasi loomed over the city from its perch on the City Gallery. Finger Hill may be known for its natural beauty, but Quasi, with its steel, polystyrene, and resin form, was a different kind of landmark. This massive hand, a creation of Australian sculptor Ronnie van Hout, was a conversation starter, a source of both amusement and unease. Some Wellingtonians found it disturbing, others endearing. Council member Ben McNulty confessed his devastation at Quasi’s departure. He recalled the initial reaction: “What is this monster?” But over time, opinions softened. A pro-Quasi faction emerged. Quasi’s name, a nod to Victor Hugo’s Quasimodo, seemed fitting. Like the hunchback, the sculpture was an outsider, judged for its appearance. Quasi’s journey began in Christchurch in 2016, where it faced similar controversy. One newspaper op-ed even complained about an outstretched finger “inappropriately and belligerently pointing”. Van Hout’s response? “Perhaps the monster just wants to be loved?” In 2019, Quasi found a temporary home in Wellington. It witnessed the city’s struggles and triumphs, its earthquake-prone buildings and political divides. Then, in a dramatic helicopter lift, Quasi left Wellington for an undisclosed location in Australia. Its absence left a void, a reminder of the art’s power to provoke and connect. Wellington’s skyline may be altered, but the memory of Quasi, the giant hand with a face, lingers on.