« La Cegadora Hechicería del Oro … Para los más viejos, el oro era solo astillas brillantes en la arena, como la mica. »

Barbara Crane Navarro

Serie “trance chamánico” y foto del chamán Yanomami, Amazonas, Venezuela: Barbara Crane Navarro

« Para los más viejos, el oro era solo astillas brillantes en la arena de los lechos de los ríos, como la mica. Lo recolectaron para hacer una sustancia de brujería diseñada para cegar a las personas con las que estaban enojados. … Este polvo de metal era temido. Por eso llamamos oru hipëre a a los fragmentos de metal brillante que los buscadores excavan en los lechos de los ríos: la deslumbrante brujería del oro.

Cuando los blancos toman minerales del suelo, los muelen con sus máquinas y los calientan en sus fábricas … El oro y otros minerales son cosas peligrosas y malas que solo traen enfermedades y muerte. … Aunque este metal es el más hermoso y fuerte que pueden encontrar para construir sus máquinas y su mercadería, es peligroso para los humanos.


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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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4 Responses to « La Cegadora Hechicería del Oro … Para los más viejos, el oro era solo astillas brillantes en la arena, como la mica. »

  1. Marie-Anne Keppers says:

    Hola a ustedes, tengo que buscar al lector para ver sus artículos, porque todavía no los recibo en mis correos electrónicos.

    Liked by 1 person

  2. Pingback: « La Cegadora Hechicería del Oro … Para los más viejos, el oro era solo astillas brillantes en la arena, como la mica. » — Barbara Crane Navarro – Tiny Life

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