Jamora was introduced to art early, through an uncle who curated at the Museo de Iloilo and brought him to exhibition openings. He studied Multimedia Arts and later worked as a creative director at a youth culture magazine before transitioning to freelance graphic design. On the side, he also took photographs, both for work and as a hobby.² He became a partner at Do Good Studio in Manila, dividing his time between the city and his hometown of Iloilo. Over 15 years he worked as an art director for print publications, published books, and contributed photographs to international magazines. A book he produced with his studio on the theme of nation-building in cities won a Good Design award for print in 2019.¹

He joined the platform HEN, drawn by the idea of digital ownership and scarcity and a fast-growing community of artists trading each other's work.² He researched digitized Philippine museum archives and reworked the material to explore Filipino history and cultural identity.² As archivist and curator, he investigated “traditional missteps” and their lasting effects on how that history and identity are understood. In Good-Natured Savages, he reused photographs and captions from the 1904 World's Fair in St. Louis, where more than 1,100 native Filipinos were exhibited. Copying the original captions verbatim, he showed how they described the Filipinos on display as uncivilized, taking the work's title from one caption that read, “Every day in the week is receiving day with these good-natured savages”.¹ One peer in the HEN community described his work as surreal collage and animation distinct from other collage-based artists.³ He was included as a featured artist in alterHEN's second group exhibition, in which members of the platform experimented with new collaborations.⁴