« A Cegante Feitiçaria de Ouro … Para os mais velhos, o ouro era apenas lascas brilhantes na areia, como a mica. »

Barbara Crane Navarro

Série “transe xamânico” e foto do xamã Yanomami, Amazonas, Venezuela: Barbara Crane Navarro

« Para os mais velhos, o ouro era apenas lascas brilhantes na areia dos leitos dos rios, como a mica. Eles coletaram para fazer uma substância de feitiçaria destinada a cegar as pessoas de quem estavam zangados. … Este pó de metal era temido. É por isso que chamamos os fragmentos de metal brilhante que os garimpeiros cavam dos leitos dos rios oru hipëre a – a bruxaria ofuscante do ouro. Quando os brancos tiram minerais do solo, eles os trituram com suas máquinas e os aquecem em suas fábricas … Ouro e outros minerais são coisas perigosas e más que só trazem doenças e morte. … Embora este metal seja o mais bonito e mais forte que eles podem encontrar para construir suas máquinas e seus mercadoria, é perigoso para os humanos. Ao cavar tão longe…

View original post 260 more words

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.
This entry was posted in Uncategorized. Bookmark the permalink.

2 Responses to « A Cegante Feitiçaria de Ouro … Para os mais velhos, o ouro era apenas lascas brilhantes na areia, como a mica. »

  1. Pingback: « A Cegante Feitiçaria de Ouro … Para os mais velhos, o ouro era apenas lascas brilhantes na areia, como a mica. » – Mágica Mistura✨

  2. Pingback: « A Cegante Feitiçaria de Ouro … Para os mais velhos, o ouro era apenas lascas brilhantes na areia, como a mica. » — Barbara Crane Navarro – Tiny Life

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s