« L’Amour de la Marchandise – La Valeur que les *Blancs donnent à l’Or qu’ils convoitent tant »

Barbara Crane Navarro

photo: Yanomami: transformation chamanique – Barbara Crane Navarro

«Aujourd’hui, il ne reste plus beaucoup de grands chamans dans notre forêt. La fumée d’or des épidémies l’a presque complètement vidée. Nos pères et nos grands-pères ne faisaient pas confiance aux blancs et avaient toujours craint leurs fumées épidémiques.

Ils ne savaient pas qu’ils étaient venus marquer les limites du Brésil au milieu de notre terre. Ils n’ont jamais imaginé que plus tard les enfants et petits-enfants de ces personnes reviendraient en grand nombre pour extraire l’or des rivières.

Ils n’ont jamais pensé que ces étrangers les chasseraient un jour de leurs maisons pour prendre leurs terres! Puis les épidémies de xawara arrivent sur leurs traces et nous commençons immédiatement à mourir les unes après les autres!

Nous sommes les rares habitants de la forêt à avoir survécu aux fumées épidémiques de vos pères et grands-pères. C’est pourquoi je veux vous parler…

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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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1 Response to « L’Amour de la Marchandise – La Valeur que les *Blancs donnent à l’Or qu’ils convoitent tant »

  1. Pingback: « L’Amour de la Marchandise – La Valeur que les *Blancs donnent à l’Or qu’ils convoitent tant » — Barbara Crane Navarro – Tiny Life

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