jamil yamani - selected works 

This is a short video with some works on it dating back to 2001.

jamilyamani at gmail dot com


This two minute work is a methodical de/construction of time and place where a one minute section of a train trip in South East Asia has been cut into sections beginning 1st frame, then two frames, then three frames and so on until the entire 1500 frames (at 25fps) has been cut into these individual sections. The file edits were then duplicated and one set reversed, both edits were then interleaved with one another. The result is a film that begins where it ends, essentially going around in circles.

This work is an installation of a wall illustration with video mapped into it. Documentation has been difficult so I have opted for posting the video only online.
The site is a typical New York landscape that just happens to contain an unmarked Mosque within it.
I have taken five more images that ultimately reveal a geographic network of Mosques in the Queens and Brooklyn areas.
My interest here was primarily with the invisibility of the Mosques.

This is a reworking of the classic video game into a installation. The major pattern in the work is drawn on gallery wall and then the video is mapped into the drawing.
I have not documented this work as it presented such a big technical challenge and in the end the documentation was detrimental to the experiential value of being in the space.

This video work features the artist having dinner with himself. The non-secular and the western selves contemplate one another in a dialogue free effort to finish their respective meals.
The work locates itself within identity politics and searches in a futile but humorous way for answers to violence and identity.

Please read here for a review of this work. http://www.artaustralia.com/article.asp?issue_id=182&article_id=119

This short video comprises of some explanatory notes and documentation of a sculpture called 'The Glittering CIty'. There are four parts including some early digital mock-ups, technical drawings, unfiltered video from the two opposing screens and finally documentation of the work in situ.
The project itself dealt with themes of migration in a global world and was the third in a triptych of works that was loosely defined by the three words, journey, arrival and departure.
The video and 5 channel audio on the two opposing screens was mapped to the rotational speed of the sculpture. This gave the whole structure visual and aural coherence.
The project was first exhibited at Campbelltown Arts Centre, Sydney in 2007.

This work was made while I was an artist in residence in New York at the International Studio and Curatorial Program in 2011. It combines my interest in the culture of Islam with the landscape of the New York.

This film is shot on super 8mm, it is an abstract expressionist film work charts a man's mental downward spiralling journey through an apartment block and famine.
During the course of the film we realise that all is not as it appears as a bizarre form of art and auto canibillism take place.
The film expresses contradictions between the internal act of feeling with the external act of being.


This short film explores the unnatural distance we in western countries have from the animals we eat everyday.
Globally, chickens, pigs, sheep and cows are slaughtered by the billions and we seem to not want to know to or care. I am guilty too.
The regular chickens we buy are stuffed full of hormones and they have been modified genetically such that they cannot even survive without the intervention of drugs.
In this marketplace in Indonesia I purchased a chicken and had it slaughtered and bagged for me. The lady I bought it from openly mocked my curiosity and so she should. I should know where my meat comes from.

This 5min work lightly examines frustration and reward.

'Made in America' 2011This is an embedded video sculpture that aims to encourage debate on what drives narratives of identity. The sculpture takes iconic Islamic designs and religious structures and combines them with a classic American car, namely a Chevelle 1969 Malibu. It is an example of US car-making in a specific, possibly more mono-narrative era. The roof of the vehicle has an iconic Islamic dome and four minarets built upon it, synthesizing the sculpture into a 'mobile Mosque'. The work undermines notions of the 'other' through the use of familiar objects. The windows of the vehicle serve as projection surfaces where each window is individually mapped with its own discreet footage. I have broken the front, side and rear windows into future, present and past respectively.

This documentation is from a show titled Family/Familiar, in this show I developed a body of work including photographs, sculptures, drawings/silk screen prints and videos. The works themselves are a collection of portraits in video and photographic format that reveal an intimate perspective of my immediate family's lives. My Father and Mother, Sister, Brother in Law, Step Father and Step Mother and finally myself all feature in this show.
As a way of portraying 'normal' I organised my media by depicting my family members hierarchically according to their position in the family. The video portraits used subtitles to inform the viewer about the personal narratives of each portrait sitter.


This video is based upon a sacrificed goat. When a muslim boy is born after 7 days or so the infants head is shaved and a goat is slaughtered. A drop of blood from the goat is then daubed on the young baby's head.

A traditional greeting.

A generic home becomes culturally specified.

This video was made shortly after a boat carrying a large number of refugees sank in waters patrolled by the Australian Navy. The name of the boat was SIEV X, (Suspected Illegal Entry Vessel), 363 people drowned as a result.
In that same election year, 2001, a racist politician called Pauline Hanson had just narrowly missed out on her seat in Queensland. In an effort to garner her votes, our then Prime Minister, John Howard took out a full page advertisement in the Sydney Morning Herald, in it he is quoted as saying 'We will decide who comes into this country and the circumstances in which they arrive'. This quote was reworking of Pauline's 1996 virgin speech in parliament where she said "Of course, I will be called racist but, if I can invite whom I want into my home, then I should have the right to have a say in who comes into my country"
In this video I have taken refugee related media from television, printed stills and then re-filmed then underwater. The images are of boats, passports, people etc. The work was a first in a triptych of works that were generated around the ideas of 'journey, departure and arrival'