![]() The Commission filed charges against a number of companies relating to false and misleading representations about 500E steel mesh. The Stop Now was lifted in May 2016 after Brilliance agreed to court enforceable undertakings requiring specific independent testing for each batch of steel.Ī copy of the written judgment is available on our case register. In February 2016, the Commission issued a Stop Now Letter requesting that Brilliance stop representing its 147E as 500E grade steel mesh complying with the Standard. This position of uncertainty is what the FTA and the Standard seek to avoid,” Judge Ronayne said. “The defendant’s conduct is highly culpable because its behaviour has left consumers in a position of uncertainty because it cannot now be known whether all of the complied. The defendants conduct… plainly undermined the New Zealand Building Code and the objectives of Standards in general.” In his judgment, Judge Ronayne said “It is self-evident that Standards are fundamentally important. ![]() False and misleading representations about building products are a priority for the Commission because compliance with standards is critical to both public confidence and safety,” Commission Chair Dr Mark Berry said. “The safety and durability of New Zealand’s buildings depend on them being constructed with materials that comply with the relevant standards. The charges relate to approximately 35 batches of 147E steel mesh or 56,125 sheets. The other nine charges relate to false and misleading representations on its website that the product had been tested by independent testing laboratory SGS New Zealand, when it had not. The offending involved 11 charges of making representations that were liable to mislead the public on their website and on product tags that its 147E steel mesh complied with the Australian/New Zealand Standard for reinforcing steel suitable for structural use in an earthquake zone when it did not. Brilliance pleaded guilty to making false and misleading representations for its 147E steel mesh product which it marketed and sold as being earthquake grade ‘500E’ steel mesh between 30 September 2012 and June 2016. What a loss this is.Auckland District Court Judge Robert Ronayne sentenced Brilliance on 20 charges brought by the Commission under the Fair Trading Act. She played and fought with her recalcitrant materials, in an art of pleasure and complaint. For all that, her works were anti-monumental, for all their size, a wonderful parody of sculpture’s history of self-regarding masculinity, a burlesque of sculptural gravity. One thing leads to another, and another, and another.Įven individual works were a succession of movements and passages, gags and routines. Her work was a journey rather than a trail of individual works. The ramshackle complexity and sculptural breadth and awkwardness of what she did counted against her. For many years, she had little commercial success or even acknowledgement. It was only in the last two decades that she found fame, and an audience outside the UK, where she had been an artist’s artist and a much-loved and generous teacher to generations of students. Photograph: Cat Garcia/Phyllida Barlow Courtesy the artist and Hauser & Wirth “Why go to the macho means of production when twiddling your thumbs and putting things together from your immediate environment was all you could afford to do?” Rather than the stoneyard of the welding shop, the overfilled skip seemed to be the crucible of her work. “Why try to compete with the super-artists?” she asked once. She, like her audience, became a protagonist in the drama, and here is where her art’s energy lies. When the discrete elements, along with a lot of materials, were taken from the studio and constructed on site, she largely improvised their final form. She revelled in the incongruous and the out-of-sync. She once described her art as an adventure of objects. Things are piled, stacked and shunted in her art, they fold, they sprawl, they teeter, they slump and erupt. Yet however alarming her sculptures and environments could be, there was something warm-hearted about her work, and about the artist herself, too. Her writings reveal her struggles with her own self-doubt. Photograph: David Levene/The Guardianīarlow could be confrontational in person, too, forthright, teasing, indiscreet, and given to combative assertions. Palpable vitality … Folly, at the British Pavilion during the Venice Biennale, 2017.
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