Sami’s work occupies a shifting territory between expression, figuration and abstraction, bringing historical and architectural references into dialogue with the formal concerns of painting and drawing. His practice is grounded in a drawing-centred approach, in which line, form and composition remain central even as the pictorial language moves between restraint and expressive intensity.
Architectural fragments, abandoned structures, human figures and ambiguous organic forms recur throughout his work. Removed from their familiar contexts, these elements become part of constructed pictorial spaces in which recognizable imagery coexists with distortion, fragmentation and uncertainty. The interplay of light and shadow, controlled linework and, at times, forceful gestures and contrasting colours creates a tension between formal order and instability.
Memory—its capacity to resurface, transform and acquire new meanings—lies at the heart of Sami’s practice. Informed by an awareness of collective traumas associated with war, displacement and totalitarian regimes, his work approaches historical experience indirectly, through the transformation of images rather than the illustration of specific events. Across painting and drawing, familiar forms become estranged, opening a space for ambiguity, psychological tension and the persistence of unresolved histories.