As a child, the nascent sculptor sat cross-legged on the floor of the Peshawar Museum and pondered the fact that most everything there had been dug up; stone sculptures, terracotta figurines, ancient coins and weapons. In that moment, creation, burial and resurrection became the source of Jamali’s future processes.
Jamali’s sculptures are transformative. Each work is a metamorphosis. Each speaks to the cyclical nature of existence; conception, birth, death and rebirth. Jamali uses Nature, both forces and materials, to manipulate works in plaster, clay and wood. As such, the finished work can be thought of as a collaborative achievement of Mystical Expressionism.
“Nature makes all of the sculptures, they are everywhere. Don’t be afraid of nature.” Jamali
Jamali has developed four different processes of sculpting.
1. (The Kitchen (Poem) 31, Blind Man IV) I dig a shallow grave and create a plaster sculpture within the grave. Then I cover it in earth and leave it buried for two to three months. Then I dig it up again and work on it. Finally, I make a mold and cast it in bronze.
2. (S06, Blind Man VI) I create a schematic sculpture outdoors in plaster or clay. I gather organic materials from my yard and throw it on the plaster or clay, working it up in a highly impressionistic ritual.
3. (B124, Blind Man III) I make a clay sculpture and expose it to the elements of nature. Over time, cracks appear, rain washes some away, nature takes its course. I make a plaster mold of what is left and then it is cast in bronze.
4. I position a piece of 4 x 8 plywood outdoors. Using my feet and some tools I spread wax or clay on top. I work the material into a life-size sculpture. These sculptures are never cast.