A strong empathy with the viewer is a prominent feature of Jama's research. His artistic images are expressive and clear — anthropomorphic masks and zoomorphic figures, reflecting anxiety and frustration, with grotesque expressions that have a strong ironic and sarcastic component. But is it really that simple? In this case, empathy is a tool for emotional engagement. When we interact with these paintings we turn first to ourselves — this inner exploration becomes the primary focus of our reflection on the work. What does it mean today to deal with the daily fatigue and routine of habits and relationships? How do we cope with fear and doubt? After all, we live in a world of uncertainty, built on unstable foundations and mediated by confusing visions of the future.

The paintings present a face or bust in a static expression, such as that of Mother Nature, but actually reflect an internal emotional dynamic, such as the dreamy and tired father struggling with the little daily nightmares of parenthood. In the diptych Doubts — No doubts, the protagonist is a rabbit, similar to the anxious Lovers wrestling with his shadow (or shadows) in a manner reminiscent of Faust. Here, the dynamic of waking life is disturbed, as the protagonist's fixity corresponds to the intense dynamism of his shadow, making it impossible for him to perceive and control reality objectively. The new works, small sculptures made of glue and wood, have a cheerful vibrancy, while the distorted faces on the narrow acrylic panels of 2021 might be seen as a fitting companion to Paolo Mantegazza's Atlas of Expressions of Pain (1876). This is not in the context of physical pain, but rather as a sign of the anxiety and fear that Jama captures in people struggling with a pandemic. — Silvia Burini, Giuseppe Barbieri