'Wolves in Sheeps Clothing', Jamin, 2010, spray enamel and acrylic paint on wall, approx 3m x 4m, with the painting 'Force #1', 2008, spray enamel on coated steel, 110 x 110cm - The Examiner Newspaper 26 June, 2010, page 5

Gillard mural late addition to painting exhibition, Pip Lees, The Examiner, Saturday 26 June, 2010, page 5.


"A convincing likeness by Jamin of David Bartlett has been achieved using that medium so beloved by a certain sub-culture: spray enamel on steel. It is in a pixelated style where graffiti meets its more refined relativeand it can only be wondered why this portrait with (admittedly hard to read) lettering has not been purchased for posterity by the party faithfuls; it can only be due to the unfortunate, easy to read title: Inertia.", Clyde Selby, The Saturday Mercury, Saturday 29 May, 2010, Inside Arts page 8.


"Towards a Better World is one of the show’s most striking images—the unusual colour palette, the seamless, layered mix of iconic images drawn from war, protest and Renaissance art reveals a satirical impulse that doesn’t kill the drama. But if John Howard is John the Baptist, who is the Liberal Party Jesus coming in his wake? God help us." Realtime 90, April-May 2009, http://www.realtimearts.net/article/90/9390


"Die Laughing Collective present a heady mix of imagery, part Mexican Day of the Dead, part post-apocalyptic nightmare - Frida Kahlo meets Dr Strangelove." Tracey Clement, The Sydney Morning Herald, March 27, 2009, Metro Page 21


Art Monthly Australia, November 2008, #215. pp 36-39: Contemplating Inertia and Change in Politics: the Art of Jamin. By Michael Denholm
Contemplating Inertia and Change in Politics: the Art of Jamin by Michael Denholm, Art Monthly Australia, November 2008, #215. pp 36-39.
Full article here: Art Monthly Australia November 2008: Jamin


First We Take Paris, Then We Take the World - Catalogue PDF
View (or right/option click to download) a PDF e-catalogue of First We Take Paris, Then We Take the World at Devonport regional Gallery, 2007.


"Blown up to mega proportions and saturated in colours from a can, Jamin’s work is more billboard than wall hanging. The paintings speak in the language of pop culture, with the big, loud and shiny images we’re so used to... In First We Take Paris Then We Take The World, Jamin is reversing the spin, taking the mixed messages back to their source and having more than a bit of fun along the way." Jennifer Hopper, J ARTS CREW, The Program, September 10, 2007 www.theprogram.net.au


J ARTS CREW :: First We Take Paris. Interview by Jennifer Hopper, TAS | 10.09.2007
Play Audio


"Another stenciller to look out for is Tasmania's Jamin, a founding member of the Die Laughing Collective. Jamin's stark depiction of Terry Hicks is one of the festival's highlights." The Age, May 12, 2007 Read Article


"Intimidating exhibition... "(Tasmania: Explore the Possibilities), "Intimidating Exhibition..." Sunday Tasmanian, March 25, 2007


"SYDNEY'S BEST STENCIL ART - Head to May Lane, St Peters, for a triptych of John Howard, Jesus and a balaclava-clad guerilla matched with unlikely bodies..." Lenny Ann Low, Cutting Edge, Radar, Sydney Morning Herald, 23 August 2006.


"Jamin is one of the most powerful image makers in the show (Hatched '06). Borrowing from the history of art - in particular, Russian poster art and Caravaggio's The Beheading of St John the Baptist - he has generated a series of images in black and white and red that dominate the downstairs gallery. With John Howard's head replacing John the Baptist's, he is less than subtle, but that's his point." Ted Snell, The Weekend Australian, 3-4 June 2006.


J ARTS CREW :: Jamin. Interview By Carol Raabus, TAS | 31.08.2005
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"...positively ankle biting show..." (A.K.A.), Jonathan Dawson, The Mercury, 30 August 2005.


"...marvelously nasty show of stencil art... (a) heartening display of artistic fury..." Jane Rankin-Reid, (Dissent Disrupt Desert), Sunday Tasmanian, 26 September 2004.