An urgent message for Davi Kopenawa, Claudia Andujar and Survival:

The Netflix episode of “Dirty Money” – “Dirty Gold” – a documentary about the gold industry being used for money laundering by drug cartels, mentions Cartier three times by name. Behind the huge quantities of gold moving around the world lies a tangled web of money laundering, illegal mining and environmental destruction !!!

Barbara Crane Navarro

When the cacique Raoni Metuktire came to Paris to speak, he asked that Europeans stop eating meat in order to protect the peoples of the Xingu from the destruction of their territory by the agro-industry. Along the same lines, all of you, speaking on behalf of the Yanomami, should ask people in Europe to stop buying, selling and wearing gold in order to protect Yanomami territory.

Cartier, the luxury gold watch and jewelry company inviting you to come to Paris to speak is making money from the sympathy that French people feel for the Yanomami and using you all as promotional gifts to greenwash their involvement in the extractivist gold industry. The exposition “The Yanomami Struggle” is being presented by the very industry that is causing the destruction to indigenous lives. Cartier operates more than 300 stores in 125 countries and in 2018 was ranked by Forbes as the world’s…

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About Barbara Crane Navarro - Rainforest Art Project

I'm a French artist living near Paris. From 1968 to 1973 I studied at Rhode Island School of Design in Providence, Rhode Island, then at the San Francisco Art Institute in San Francisco, California, for my BFA. My work for many decades has been informed and inspired by time spent with indigenous communities. Various study trips devoted to the exploration of techniques and natural pigments took me originally to the Dogon of Mali, West Africa, and subsequently to Yanomami communities in Venezuela and Brazil. Over many years, during the winters, I studied the techniques of traditional Bogolan painting. Hand woven fabric is dyed with boiled bark from the Wolo tree or crushed leaves from other trees, then painted with mud from the Niger river which oxidizes in contact with the dye. Through the Dogon and the Yanomami, my interest in the multiplicity of techniques and supports for aesthetic expression influenced my artistic practice. The voyages to the Amazon Rainforest have informed several series of paintings created while living among the Yanomami. The support used is roughly woven canvas prepared with acrylic medium then textured with a mixture of sand from the river bank and lava. This supple canvas is then rolled and transported on expeditions into the forest. They are then painted using a mixture of acrylic colors and Achiote and Genipap, the vegetal pigments used by the Yanomami for their ritual body paintings and on practical and shamanic implements. My concern for the ongoing devastation of the Amazon Rainforest has inspired my films and installation projects. Since 2005, I've created a perfomance and film project - Fire Sculpture - to bring urgent attention to Rainforest issues. To protest against the continuing destruction, I've publicly set fire to my totemic sculptures. These burning sculptures symbolize the degradation of nature and the annihilation of indigenous cultures that depend on the forest for their survival.
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