« Today, the situation of the Yanomami people is very bad because of the relentless invasion by illegal gold miners. They have polluted our rivers and streams and the health of our community is threatened.
The great soul of the forest is in peril.
We are mistreated by the people of the ‘world of merchandise’. »
« On Yanomami land, there are 25,000 gold miners. They also have helicopters to take goods and equipment to gold mining sites.
They bring mercury, oil, gasoline, and spread the diseases of white people. There are more and more planes. I don’t know where they come from but there are a lot of gold prospectors who come and land here.
The government of Brazil does not listen to us and does not want to see us. They don’t want to support the people of the forest.
The people of the forest are calling to you.
It is a cry of the Yanomami people, it is a cry of the earth.
This frantic gold fever is not only contaminating the lands and water in Yanomami territory. Near the city of Manaus, on the Madeira river, hundreds of illegal gold dredges are vacuuming the river bed seeking gold.
There are also illegal gold dredges operating on the rivers in Yanomami lands, where they caused the death of two children:
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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