Mohammed Sami Finds Power in the Unseen at Blenheim Palace
The Iraqi artist presents daringly deft new paintings at the UNESCO World Heritage Site in Oxfordshire. Save to My Ocula
Mohammed Sami, Chandelier (2024). Exhibition view: After the Storm: Mohammed Sami, Blenheim Palace, Woodstock (9 July–6 October 2024). Courtesy Blenheim Art Foundation, Woodstock. Photo: Tom Lindboe.
Mohammed Sami, Hiroshima Mon Amour (2024). Exhibition view: After the Storm: Mohammed Sami, Blenheim Palace, Woodstock (9 July–6 October 2024). Courtesy Blenheim Art Foundation, Woodstock. Photo: Tom Lindboe.
Mohammed Sami, The Statues (2024). Mixed media on linen. 370 x 290 cm. Courtesy the artist, Modern Art, London and Luhring Augustine, New York. Photo: Marcus Leith.
Mohammed Sami, Reborn (2023). Mixed media on linen. 135 x 115 cm. Courtesy the artist, Modern Art, London and Luhring Augustine, New York. Photo: Marcus Leith.
Mohammed Sami, Reborn (2023). Mixed media on linen. 135 x 115 cm. Exhibition view: After the Storm: Mohammed Sami, Blenheim Palace, Woodstock (9 July–6 October 2024). Courtesy Blenheim Art Foundation, Woodstock. Photo: Tom Lindboe.
Mohammed Sami, Massacre (2023). Exhibition view: After the Storm: Mohammed Sami, Blenheim Palace, Woodstock (9 July–6 October 2024). Courtesy Blenheim Art Foundation, Woodstock. Photo: Tom Lindboe.
Mohammed Sami, The Grinder (2023). Mixed media on linen. 290 x 350 cm. Courtesy the artist, Modern Art, London and Luhring Augustine, New York. Photo: Marcus Leith.
Mohammed Sami, The Eastern Gate (2023). Mixed media on linen. 290 x 551 cm. Courtesy the artist, Modern Art, London and Luhring Augustine, New York. Photo: Marcus Leith.
Mohammed Sami‘s paintings derive their power from the unseen. Depicting landscapes, interiors, and cities devoid of figures, they are rich in traces of human presence. His multi-layered paintings weave together personal memories, shared histories, and the lingering physical and psychological imprints these leave behind.
In celebration of ten years of Blenheim Art Foundation’s contemporary art programme at Blenheim Palace, the Iraqi artist has created a new series of works for the exhibition After the Storm (9 July–6 October 2024), which showcases his paintings in gilded staterooms with ornate architecture, decorative wallpaper, and baroque portraits of duchesses, dukes, and kings.
One highlight is The Eastern Gate (2023), a monumental landscape depicting Sami’s hometown of Baghdad illuminated by amber light. In the distance, the silhouette of a mosque rises above the city obscured by dense trees. The scene is punctuated by the white glows of street lights, connected by overhead power lines.
The trees, inspired by Capability Brown’s landscape design around the palace, appear uncharacteristic of the painting’s Middle Eastern setting. This choice reflects Sami’s merging of disparate elements, evoking both familiarity and strangeness.
Initially resembling a sunset or sunrise, the vivid orange light reveals itself to emanate from a dust storm, like those frequent in Iraq. In the foreground, the grass is ominously torn by military tank tracks.
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