Sami was born in 1943 in the Sharq district of Old Kuwait Town in modest family surrounding. From early childhood he was betrayed artistic potential in the way of making mechanical toys and little figures of people and animal in clay. In his early school days one of his teachers, Mansoor, discovered his artistic inclination and encouraged him to practice. Other teachers took an interest in his talent and soon he was making drawings for them to hang in their classroom.

In 1956, during the Nationalization of the Suez Canal and the animosity it evoked throughout the Arabian world Sami's school principle charged him to make lots of little figures to stage a battle ground, Sami made about 60 of them representing fighting soldiers and civilians. At the inauguration of the display, that covered the entire school stage, he was awarded first prize. For Sami that was the turning point in his life. From that day art became the ruling spirits of all his undertaking and thoughts, the school atelier became his playground.

He was also good in music, in the 60's he was the first dilettante playing the lute on Kuwaiti TV.

Mr. Shouky Desuky, his art teacher at the Secondary School of Shamya, introduced him to the art of ceramic. He was about twenty years old when Sami left school and started working. At about that same time the Government Free Atelier was opened and from the start it became the Mecca of every dilettante in town. No sooner Sami heard of it than he presented himself with some drawings and was accepted. There he met other young sculptors and painters, his teacher Shouky Desuky was teaching there. For two years he frequented the G.Atelier regularly till he was given official grant to become a free artist, and part of the pioneering group in the plastic arts movement in Kuwait.

At the G. Free Atelier, besides practicing art, Sami was reading avidly all about the classics and falling in love with the Giants of the Italian Renaissance. He was particularly attracted to Michael Angelo, to Leonardo da Vinci, Raphael and Bernini. In 1963 Anuar Serugy, a well-known Egyptian sculptor, was among the teaching staff at the Free Atelier and Sami greatly benefited from his teaching. In 1964 he was sent to Egypt for a course of study at the Institute of Fine Arts in Cairo, he was well advanced in respect to the other students.

Egypt was for Sami the realization of a dream; there he met other artists, some of them quite famous. Teaching at the College of Fine Arts was Jamal Al Sigini, a renowned sculptor, who greatly expanded Sami's horizon of understanding.

In 1970 Sami Mohammed was back in Kuwait but his mind was now under the influence of many world-famous artists, and he had to struggle for many years before he could break free.

Before leaving to Egypt his works had a distinct inclination endued with his own personality; after his return from abroad he began to betray the influence of Henry Moor at first and then of others modern artists he admired. In studying their style, specially the works of RODIN, HENWEIN and LUTZ, Sami was trying to discover his own special formula in sculpture and painting, for he could find in them an echo of his own mind, the inner surge of his emotional nature and his human sympathies. In "Sabra and Shitila" (1983) he betrays the combined influences of RODIN, HELNWEIN and LUTZ. "ACTION 2 " and "ACTION 4" of Louis Lutz have influenced a series of creations of which "Getting out", and "Penetration " are the most prominent. In "Paralysis and Resistance", a large bronze figure of 1980 to which Sami has imparted his own humanity, his feelings and sentiments and his profound human compassion of an event that apparently touched him deeply .In this work is betrayed the influence of Gottfried Helnwein's sensational Self Portrait serials.

In 1973 Sami got a scholarship for a course of studies at the U.S.A. He spent the first year at the Vermont College improving his English. While at Vermon he was able to locate the Art College he was looking for .At Johnson Institute for artist in Princeton, New Jersey Sami found everything he had been dreaming to learn. He soon became familiar with bronze casting and other mediums and techniques. During the last part of his two years training there he was chosen to hold three study courses on anatomy related to sculpture.

In 1976 Sami was back in Kuwait. His contact with the outside world had expanded his vision, but he was still uncertain, still trying to discover his real self, his true purpose and identity in art.

For sometime, since his return from U.S.A. Sami was troubled by a persistent question "What do I want? ". In his quest he has been experimenting long and hard and producing a wealth of works in painting and sculptures verging on many fields of inquiry, but the nagging question persisted till, finally he seems to have emerged with a formula that encompasses his true self as an artist.

His deep involvement in the human saga has promoted him to record bits of news on human atrocities of which he has a substantial archive. Everything that spells tragedy and suffering interests him.

From the eighties Sami has been striving to be on his own, to be independent in thought and performance; the first result was the so called "Box " phase, which incidentally still betrays the influence of Louis LUTZ in his work "For a better world ".

As I mentioned, in the sixties, before Sami came into close contact with other artists, he professed his own individuality. Good examples are "THE SAILOR" (1964) and "MY MOTHER" (1968) in which he reveals a self-confidence that faded at his return from Egypt. In his life-size "Sailor" Sami was guided by his cumulative knowledge of the old Kuwaiti spirit, of the life of men and women he knew from childhood and he has never ceased to cherish and admire; such a knowledge, combined with his sense of architecture of the human body, brought forth a piece of art imbued with feeling and emotion that is almost touching .In the facial expression and muscular tension of the figure is revealed the stubborn endurance and a fortitude of spirit characteristic of the old Kuwaiti folk . Likewise, the bust of his "MOTHER "is the old- day's prototype of motherhood .The figure is solid yet plastic and conclusively emblematic of a deep emotional state, a tenderness which only a loving mother possess. The figure has the quality of unadulterated nobility of spirit, that is neither strained nor mechanically concocted, but a pure and spontaneous emanation of the old Kuwaiti character in mothers, strong and reliable; a true source of inspiration and fortitude for growing children.

In the early seventies we have one of Sami's finest works the monumental bronze statue of Sheikh Abdulla Salem Al Sabah, the late ruler of Kuwait, created in 1972-. The chosen pose and the expression on the figure's face bares the noble bearing of the man he was but the real sentient being Another striking work of the same decade is "HUNGER" (better called Starvation) done in 197O. It is a mother and child group, all skin and bones, a true epitome of starving humanity. It is spirit over matter transformed and yielding strong feelings of hopelessness, and impotent decay .It is a dramatic strife and n.It is a dramatic strife and noble desolation - the fatality of human life. In "HUNGER " Sami has transfigured his subject-matter into a spiritual agent; into a being retaining its essential connection with the familiar facts, but relieved of everything that emphasizes the purely physical .The work is a symbol, pure and simple .Its appeal is straightforward and fundamentalist pathetic association to external characteristics has been translated into a universal language, imbued with emotions as old as mankind, independent of time and place. Modeled of synthetic marble, in spite of being badly damaged, the emotional appeal of the group is direct and powerfully felt. Every rhythm and movement contributes to the human tragedy it represents.

In all these works and many others Sami Mohammed betrays a good sense of form; this is his greatest asset. "FORM" is nature molded by the artist, simplified, organized, and converted into a medium imbued of human experience. In his book Sami wrote, "MAN is the mainspring of my inspiration". Indeed in his paintings and sculptures humanity is made to strikeout with force, to break free from the bounding chains that hold it down. His works are the embodiment of feeling and emotions of fundamental concern to the human race; their message is powerfully felt.

From 1964 to 1998 Sami Mohammed has been joining scores of exhibitions, about 145, among them are International Biennials and Triennials held inside the country and abroad. Over seventies of his works are in private collections and Government Institutions. He was awarded scores of prize -bronze, silver and gold medals and the gold sail several times. Got first prize for the project of a national monument and represented his country in several occasions at conferences and in developing aesthetic projects, namely in Saudi Arabia.

He gave training courses to dilettante at the Kuwaiti University and at the Institute for Handicrafts.

In 1995 Sami held his first personal exhibition in the country .In the same year, by invitation from the Department of Culture of Sharjah, U.A.E. he held his first personal exhibition abroad. Also in the same year he got an invitation to participate with some of his bronze sculptures at the Biennial of Padova, Italy.

Sami Mohammed finally walks the path he has strived to discover in which is revealed the tenor of his mature mind. In the art movement of Kuwait he stands as one of its first pioneers.