Little is known about The Wizard of New Zealand who took centre stage in Christchurch's Cathedral Square from the 70s until the Christchurch earthquakes in 2011, which saw the city in a state of disrepair. A man who challenged political, social and cultural ideology, The Wizard posed provocative questions in this public space, much to the delight, and sometimes dismay, of passersby. But the background to why The Wizard was there in the first place has been something of a mystery... until now. Sonia Yee finds out more in this episode of Eyewitness.

Anyone who visited Christchurch's Cathedral Square before the 2011 earthquakes will know of The Wizard of New Zealand - an iconic figure and mainstay of the city centre.

Often dressed in a velvet kaftan and pointy black hat, the Wizard carried a wooden staff and performed on a step ladder that acted as his portable podium.

Listen below to find out more about The Wizard and the mark he made on the history of Christchurch:

These days, you'll find The Wizard, who refers to himself simply as 'Jack', living a much quieter life, spending his time between Christchurch and Oamaru.

But what many won't know is that the man formerly known as Ian Brackenbury Channell, was also part of a larger project that would see him become a living work of art.

"That means everything about you is created by yourself as an artwork," says The Wizard.

"Your identity is only one thing, but you need to have a whole lifestyle - your family and friends, the universe you live in and the way you see the world - has to all be turned into something aesthetic, rather than moral or rational."

The Wizard's transition to becoming a living work of art began to take shape while he was living in Melbourne.

It was 1969, and he was starting a new position in the Department of Social Science and Sociology at the University of New South Wales, where he specialised in religion and revitalisation movements.

During this period, he was looking into new ways to challenge social and political ideology. But he wanted to activate this by steering clear of violence, and instead, confronting people with what he refers to as 'unusually creative responses.'

For The Wizard, that was very much like street theatre. But he was keen to push the envelope further by creating a fully formed aesthetic.

To make this official, he and his partner, Alice, visited the National Gallery of Victoria. It was there they met with the director, Eric Westbrook, who was excited by The Wizard's proposal.

Becoming a fully-fledged living work of art was edgy and provocative. No one had ever conceived of something like this before…

Go to this episode on rnz.co.nz for more details