COPYRIGHT DISPUTE ARISES OVER SIMILAR SCULPTURES IN UK AND NEW ZEALAND

11/10/2025
Two artists, Ray Lonsdale from the UK and James Wright from New Zealand, have become embroiled in a copyright dispute over two large steel sculptures depicting clasped hands. Lonsdale’s 13-foot-tall corten steel sculpture, The Big Dance, has been installed in Gretna Green, Scotland, since 2010 and has become a popular landmark and wedding photo backdrop. Wright’s sculpture, Togetherness, is located in Clevedon, New Zealand. Both sculptures share visual similarities, including the depiction of joined hands in steel, prompting the dispute.
 

The core issue is whether Wright’s sculpture infringes the copyright of Lonsdale’s work. Key points include:
  • Similarities: Both sculptures feature hands clasped together and use corten steel.
  • Originality vs. Idea: Wright argues that the image of clasped hands is a universal idea, which cannot be owned by any artist.
  • Copyright law perspective: As per New Zealand law, copyright protects the specific creative expression, not the underlying idea.
The legal questions focus on whether:
  1. There is objective similarity between the two works.
  2. Actual copying occurred.
  3. A substantial part of Lonsdale’s work has been reproduced in Wright’s sculpture.
 
Redressal Through Initiative
  • Lonsdale has sent a formal letter requesting acknowledgment of his work.
  • He is also raising funds by selling limited edition prints of The Big Dance, potentially to finance a legal action if Wright refuses to credit him.
  • Expert commentary from Joseph Bracewell, senior associate at Tompkins Wake, Auckland, suggests that any court will assess:
    • The originality of The Big Dance for copyright protection.
    • Whether Wright’s work substantially reproduces Lonsdale’s expression.
    • Evidence of pre-existing similar works or Wright’s own creative process, which may affect the outcome.

This dispute highlights the fine line between inspiration and infringement in visual arts. While universal ideas like clasped hands cannot be copyrighted, the specific expression and artistic detailing may be protected. Lonsdale’s proactive steps—requesting acknowledgment and preparing for potential litigation—illustrate a measured approach to asserting copyright while seeking resolution. The case underscores the importance for artists globally to document their creative process and establish distinctive expressions to safeguard against potential infringement.



NANDINI KOHLI
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