Finbrella is excited to announce the launch of our latest collection.
Inspired by the indigenous heritage of the Warakurna people of Western Australia, Finbrella has collaborated with the family of Indigenous artist Carol Maanyatja Golding (Dec) and Pulpurru Davies to release a limited collection of umbrellas like no other. This collaboration was made possible by the Warakurna Arts Centre in the North of Western Australia. Carol Maanyatja Golding (Dec) born 1930.
- Carol Maayatja Golding (Walu Na White Wind)
- Carol Maayatja Golding (Walu Na Pink Wind)
- Carol Maayatja Golding (Walu Na Blue Wind)
"Carol Maanyatja Golding was born at Walu rockhole not far from Warakurna. This painting depicts a story from Carol’s birth country. There were two men and one little boy camping at the Walu rockhole. The men went hunting and left the little boy behind. The men returned with an emu and pulled out its heart. The boy was holding the heart and blood spilt onto the rocks. He ran away with the heart and turned into wind. The emu's blood trail stained the rocks and can still be seen there today." - Warakurna Arts Centre
The pink umbrella is a section of a painting by Warakurna artist Pulpurru Davies who was born in 1943.
- Pulpurru Davies (Pulpurru Pink)
"Warakurna Artists works closely with Wanarn Aged Care Facility to conduct painting sessions with elderly residents. This program nurtures artists who have contributed largely to one of the most significant art movements in Australia. The joyous communal activity has a myriad of positive benefits and the old people rejoice in sharing and passing on their important Tjukurrpa ‘dreaming’ with their families who visit them when the workshops are conducted. Warakurna Artists is a positive and powerful example of Aboriginal businesses managed and governed by artists and community elders ensuring the wealth of talent and economic returns are retained in the community." - Warakurna Arts Centre
West Australian artist:
William Stransky was born in Perth West Australia in 1958 and completed Asian Studies at W.A.I.T. ( Curtin University) and graduated in Japanese Studies at the University of W.A. in 1980. He then worked around the state as an onshore driller, secondary school teacher, marble factory manager and trades assistance on the LNG North West Shelf Project before moving to Kumamoto, Japan in 1989.
Inspired by the richness of Japanese culture and the beauty of the seasonal changes, photography, writing and then painting were soon devises through which his creative spirit would be fanned. In 1995 he held his first solo exhibition at Mick’s Jazz Club in Yatsushiro City and over the next seven years held a number of solo exhibitions in southern Japan.
In Japan the style of painting was always a colorful and detailed expression of nature and a direct representation of his surroundings, the Japanese countryside, but already there was an abstract referencing in his flower paintings of Ikebana and the bottle with glass paintings, Drinking with Friends.
In 2004 he moved back to Perth and continuing to paint, now with more space, his formats and style changed to more capricious expressions of the Australian landscape. It is a reactionary period. Big skies on large canvases are celebrated in his 2007 exhibition, Art in the Afternoon.
But the relocation begins to unravel into dislocation and so does the artistic rhythm and it is not until early 2013 that a Renaissance is intersected and a new pathway is finally revealed. An energetic outpouring results in a collection of work, forcibly abstract, urgent, painted narratives demanding attention. An exhibition is imminent.
As usual, the artist, who also covets the written form, has attached titles that should be considered as curious artistic lingerie, intentionally seductive and an introduction, indeed an invitation, to discover an expression of deeper satisfaction beneath. The exhibition, Big Brush, in February 2014 is well received, a considered success and an impetus for great production. 2015 is prolific, rich, experimental and by October another shift, subtle, is surfacing. November crossing into 2016 the artist is confident, in a zone where control implies an even greater creativity to express forms and extract words to explain them. It is a good place. 2016 looks to being a Monkey of a time. His solo exhibition Backyard Twist in May represents a fecund outpouring and some 40 works sing well in the magnificent historical Fremantle edifice, the Moores Building. The year concludes with a new studio and into 2017 new canvases are being completed.
- William Stransky (Floral Cascade)
- William Stransky (Salad On The Run)
Light and mobile, for whenever and wherever portable wind-stable sun protection is required.
- Aluminium Frame
- Sand Pole included
- Shoulder Bag included (in matching fabric)
- Canopy Diameter: 220 cm
- Total Height: 255 cm
- Ground Clearance (open on base): 210 cm
- Ground Clearance (canopy closed): 130 cm
- Ground Clearance (sand pole buried to 50 cm): 180 cm
- Dynamic Shade Area: 3.8 m2
- Centre Pole Diameter: 40 mm
- Frame and Canopy Weight: 4.9 kg
- Weight With Stainless Steel Centre Pole (optional): 6.7 kg