« Our xapiri spirits are very worried to see the land become ghost »

«Our forest is still beautiful … rooted in the center of the ancient sky.
Beyond the forest, the white people’s territory that surrounds us consists only of wounded lands from which the epidemic fumes come … Its edges bear the wounds of the settlers and cattle ranchers’ deforestation and fires. Its center is marked by those of the gold prospectors’ mud ponds. Every one of them avidly ravages it as if he wanted to devour it.
All this devastation worries us. … There is no more tree canopy there and soon the soil will be nothing but sand.
The shamans clearly see that the forest is suffering and sick.»

– Yanomami spokesman and shaman Davi Kopenawa

Yanomami tapiri, hunting and traveling shelter in the forest, Alto Orinoco, Amazonas, Venezuela. Yanomami hunter dreaming in his hammock in a tapiri, a forest hunting shelter
drawing on paper
Namowë Yanomami 

NO to Maduro’s Orinoco Mining Arc destruction of indigenous lands in Venezuela!

NO to Bolsonaro’s removal of protections for indigenous territories in Brazil!

Gold mining site destroying and contaminating indigenous territory in the forest


And please give gifts that don’t destroy nature and the lives of indigenous peoples!


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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4 Responses to « Our xapiri spirits are very worried to see the land become ghost »

  1. mizlatea says:

    Your artwork might be presented to Women and Their Work Gallery in Austin, Texas. If accepted for an exhibit, you’d be able to reach a wider audience. Thank you for the work that you do! It’s very important work that others could learn from.

    Liked by 1 person

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