« Dobbiamo proteggere le foreste per coloro che non possono parlare da soli come uccelli, animali, pesci e alberi. Dobbiamo proteggere le foreste per i nostri figli, nipoti e nascituri. »




Tucuxi che salta nel fiume, Amazonas, Brasile 
Animali acquatici – disegno su carta: Yahimi Yanomami

« Non vedo una delegazione a quattro zampe. Non vedo un posto per le aquile. Ci dimentichiamo e ci consideriamo superiori. Ma, dopotutto, siamo solo una parte della creazione. E dobbiamo considerare questo per capire dove siamo. E siamo da qualche parte tra la montagna e la formica. Da qualche parte come parte integrante della creazione. »

Capo Oren Lyons, Seneca Nation, parlando alle organizzazioni non governative delle Nazioni Unite, Ginevra, Svizzera, 1977

NO alla distruzione da parte dell’Arco Minerario dell’Orinoco da parte di Maduro delle terre indigene del Venezuela!

NO all’abolizione da parte di Bolsonaro delle tutele dei territori indigeni in Brasile!

SI PREGA DI NON ACQUISTARE O USARE ORO!

E per favore fate regali che non distruggano la natura e le vite dei popoli indigeni!

LA MOSTRA È ESTESA – “Pas de Cartier !” – Gli Yanomami e gli alberi – Estrazione di oro e oro di lusso / COVID-19 diffuso dai miniere d’oro … ora fino al 12 novembre 2021

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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2 Responses to « Dobbiamo proteggere le foreste per coloro che non possono parlare da soli come uccelli, animali, pesci e alberi. Dobbiamo proteggere le foreste per i nostri figli, nipoti e nascituri. »

  1. Pingback: Arcobaleno della foresta, Amazonas, Venezuela – NO alla distruzione da parte dell’Arco Minerario Orinoco di Maduro delle terre indigene in Venezuela !!! — Barbara Crane Navarro | Ned Hamson's Second Line View of the News

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