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, weapons, etc. 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. 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.