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 His rugged background in Balochistan nurtured the creativity and skills seen in the work of Jamil Ahmed Baloch. Born in Nushki, where his family is deeply rooted, he grew up with the awareness of natural elements and their uses, men building their homes from hewn trees, metals used for practical purposes, and the women who spent their days collecting water. These impressions honed an integral respect for the medium he uses in his work, whether sculpture or painting, a principle he endeavours to instill in his students.
As a sculptor he enjoys working on a large scale and one invariably finds Jamil’s sculpture standing aloft at the national group shows seen at Alhamra, Lahore. Working on this scale has its problems he explains, as transportation and setting of the pieces is a challenge, but after all, he concludes, "it’s all part of the problem of being an artist." His latest work has moved far from the playful ’Burqa ’ series of earlier years. "My environment was a source of influence, as is natural with all of us. Whenever I traveled in Balochistan I am aware of the body language people unconsciously use which says a lot. The Burqa series is part of that experience. At a recent exhibition an award winning Burqa clad figure clasping a bunch of red roses, and made in the medium of fibre glass was titled: Valentine’s Day. In this work the sculptor tried to show that all human beings, regardless of outer appearances, share similar emotions.
In his latest work being exhibited at the Canvas gallery, Karachi, the artist reveals a mood of concern for world issues translated into familiar figures. It has been said the universe is contained in a grain of sand, and in a similar philosophy, Jamil has shown the Balochi people and their sufferings representing the whole of mankind. Observing the work in process one first was confronted by a tall-carved form, identified by the suggestion of an enveloping Balochi turban. The protruding rib cage standing out from a carved concave area that led ones eyes to the base of the sculpture. A minimalist suggestion of feet stands as a strong base. This form is representative of hunger in the world adapted to a situation the artist feels deeply. A series of woodcarvings echo the mood of the ’Fasting Baloch’, representative of all the hungry people in the world.
He is an artist who loves the physicality of his work, keeping fit for the work through sport. "I have heard artists refer to realistic work as ’labour’ but nothing worthwhile is achieved without hard work. Progress comes from practice not from words and theories." For Jamil, every stage of his work is a source of enjoyment. He relishes working on a large scale accepting the challenge of his material. In the initial stages it often appears that he is intent on mastering the medium to release the form held captive within. The theme he illustrates is supported by a series of wall-based pieces. Heavy metal studded frames containing images and settings that though often minimal in their representation are heavily textured with lines and marks. They reveal an expression of the artist’s frustration and helplessness in the face of universal ills.
- Marjorie Husain
http://www.dawn.com/weekly/gallery/gallery6.htm
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