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Expanding people’s awareness of the widespread impact of this crisis is one of the project’s core messages. By directing the gaze away from other physical signifiers of age, ethnicity, and class, she facilitates a more intimate listening experience. But her framing device powerfully impacts the viewing experience, too.

Participants have full control over their narratives and often comment on the transformative, empowering, and healing effects that publicly sharing their traumatic experiences brings to them.ĭel Buono’s decision to show only the speakers’ mouths was driven by the necessity to protect the anonymity of this vulnerable population. Since 2013, Del Buono has interviewed over 100 survivors of domestic violence at shelters throughout the country. Next, she invites the viewer/listeners to approach one of the monitors and begin engaging, one-by-one, with the participants in her ongoing Voices project. Similarly, Del Buono wants viewers to take in the immersive, audiovisual sensations of many voices talking simultaneously. Then, the din of the room fades as you shift attention to what your companion is saying. First, you might hear a multitude of voices or notice lips moving in conversation. Imagine walking into a busy cafe to meet an acquaintance. She donates all proceeds to the National Indigenous Women’s Resource Center. The contrast of red against the haunting, monochromatic palette of LaFond’s paintings focuses the viewer’s gaze on the faces of these victims, survivors, and activists.Ĭonsidering her art a form of traditional medicine, LaFond does not profit monetarily from the creation or sale of these works. The Missing and Murdered Indigenous Women’s movement adopted the red handprint as a symbol of the pervasive silence that surrounds this crisis – and their mission to break that silence. Wearing red is a way to call the spirits of ancestors closer. Native Americans across many tribal groups believe red is the only color that spirits can see. LaFond’s decision to place a red hand across each subject’s mouth has cultural, political, and aesthetic significance.

Today, she has completed more than 100 paintings. In 2020, her first portraits of missing and murdered Indigenous people gained traction on social media, connecting her with families across Turtle Island (North America) with missing loved ones. Her work often deals with issues related to trauma, including her experiences as a leukemia, bone marrow transplant, and domestic violence survivor. LaFond’s Portraits in Red project brings visibility to this crisis. Yet disturbingly, these crimes are under-reported by the media and under-prosecuted by law enforcement.

Almost all Native people experience violence during their lifetime, and Native women face murder rates 11 times the national average. Red gradient youtube banner x download.Behind each red hand in this exhibition is the voice of an Indigenous person who has suffered the impact of violence.

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