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, not a prototype of an ideal, 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 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.