« En l’absence du sacré, tout est à vendre. »

Forêt tropicale le long du fleuve Orénoque, Amazonas, Venezuela – photo: Barbara Crane Navarro

«L’environnement n’est pas par ici. L’environnement n’est pas là-bas. Vous êtes l’environnement.

Ce que vous appelez vos ressources naturelles, nos gens appellent nos parents. »

– Oren Lyons, Nation Seneca

Nous devons à nouveau adorer la forêt, les rivières, le ciel – Nature –


Veuillez regarder ce film de 2 minutes 27 secondes montrant des instants de la vie Yanomami en Amazonie, au Venezuela et la performance artistique “La sculpture de feu” brûlant sur les rives de l’Orénoque pour protester contre la destruction continue de la forêt tropicale et la dégradation des vies autochtones:

NON à la destruction par l’Arc minier de l’Orénoque par Maduro des terres indigènes du Venezuela!

NON à la suppression par Bolsonaro des protections des territoires autochtones au Brésil!


Et s’il vous plaît, offrez des cadeaux qui ne détruisent pas la nature et la vie des peuples autochtones!

L’EXPOSITION EST PROLONGÉE “Pas de Cartier !” – Les Yanomami et les arbres – Extraction d’or et articles de luxe en or / COVID-19 propagé par les mineurs d’or… maintenant jusqu’au 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 « En l’absence du sacré, tout est à vendre. »

  1. Pingback: « En l’absence du sacré, tout est à vendre. » “In the absence of the sacred, everything is for sale.”— Barbara Crane Navarro | Ned Hamson's Second Line View of the News

  2. Pingback: « En l’absence du sacré, tout est à vendre. » — Barbara Crane Navarro – Tiny Life

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