Wisam Al-Samad
Frozen Light
2nd Floor Galleries
26.02.–12.04.2026

In his exhibition Frozen Light, Wisam Al-Samad showcases a new monumental wall piece where nature's tiniest structures become carriers of exis­tential and cultural questions. The central work, Snowflake (2026), measures over 5.5 metres and is made up of a cohesive form built from nume­rous hexagonal units in high-fired stoneware.

The snowflake is not simply a decorative motif but a foundational principle. In nature, every snow crystal forms according to the same geometric laws, yet no two are identical. Al-Samad uses this duality as his starting point: repetition and variation, system and freedom, order and deviation. Each unit in the work shares a close kinship with the others, yet has its own texture, height, and inner rhythm. Gentle shifts create a soft movement across the surface, allowing light to travel across the form—emerging, vanishing, sparkling, and softening depending on the viewer’s perspective.

In several of the units, subtle references to the artist's cultural background can be observed—forms and signs that flow into the hexagonal structure with­out overpowering it. Conse­quently, a space arises in which personal memory and universal order coexist.

In Frozen Light, snow is not just a natural pheno­menon, but also a metaphor, symbolising both still­ness and danger, as well as clarity and insight. For Al-Samad, snow does not only mean cold­ness; it is a space for reflection. In the meeting between the structure of the snow and the warmth of the clay, an image of human expe­rience emerges: We are shaped by the same funda­mental structures, yet each of us bears our own unique difference.

Al-Samad's artistic practice is rooted in the millennia-old Mesopotamian ceramic tradition. This tradition features polyphonic decorations on both glazed and unglazed ceramics for utilitarian and decorative purposes. Over the years, Al-Samad has developed a visual language that reflects his Arabic heritage through a combination of calligraphy, geo­metric principles, and modernist compositions. After being forced into exile from Iraq, he has lived in Norway since 2009. Living across different cultures forms the foundation of his work, where themes of identity, belonging, and language are explored.

In his art, Wisam Al-Samad mainly works with cera­mic wall pieces and sculptural instal­lations. By using earthen­ware, high-fired stoneware, lustre glaze, and calligraphic elements, he explores how words, forms, and materials can convey emotions and histories. Al-Samad's works blend references to Norwegian cultural heri­tage—such as petro­glyphs and land­scapes—with influences from the visual and linguistic traditions of Mesopotamia.

Wisam Al-Samad studied at the College of Fine Arts at the University of Baghdad and the Academy of Fine Arts in Baghdad. He has parti­ci­pated in nume­rous exhibitions in Norway, including at RAM Galleri in Oslo (2025), Telemark Kunst­senter (2025), and KRAFT in Bergen (2024), as well as international biennials and festivals such as the Aveiro Inter­na­tional Biennale of Artistic Ceramics in Portugal (2025), the Inter­national Ceramics Festival Mino in Japan (2024), and Cera­mic Art Andenne in Belgium (2015).

Al-Samad's work is represented in both public and private collections. He is a member of the Inter­na­tional Academy of Ceramics in Switzer­land. His artistic practice focuses on educational outreach to children, young people, and older adults, empha­sising craft and community enga­ge­ment.

This exhibition is supported by the Arts Council Norway, the City of Oslo, and Art Centres in Norway.