As a child, he liked playing with clay and made forms that looked like birds and animals and sold them to his friends.

The Ministry of Education, which officially administers the Atelier as one of its institutional units, granted him a lifelong stipend.

Following the course at Vermont, instead of joining College of Fine Arts, he went to Johnson Institute for artists in Princeton.

[3] Before leaving for the USA to study further, The Kuwaiti University deputized him as a visiting artist to teach tutorials in visual arts.

Upon returning from the conference, he began work on his Box series and subsequently started focusing on mankind and humans as the subject of his sculptures and arts.

The exhibition opened in Sharjah, organized by Department of Culture and Information, Directorate of Arts, then moved to Abu Dhabi, Kuwait, Italy and participated in Bodova International Biennial on sculpture.

[2] The National Council for Culture, Arts and Letters commissioned him to design the State of Kuwait Merit Award Trophy and was later commissioned to design and execute the golden medal and trophy of The National Achievement Award.

[5] In the early 2000s, The Museum of Contemporary Art in Sharjah dedicated a separate wing for his artworks which are exhibited on long-term basis.

Titled "National Works" and curated by Ala Younis, the pavilion's show featured a bronze bust of Sheikh Abdullah Al-Salem Al-Sabah, a fiberglass copy of the extended arm of Sheikh Sabah Al-Salem Al-Sabah (1989), in addition to series of drawings and photographs excavated from the Mohammad's studio.

In Sabra and Shatila, the barely alive single, recumbent body bound by incising, torturous fetters stands for a people.

It Solemnizes its narrative dimension, merges the secular and the sacred and engages in the critique of Political Darwinism.

"[10] Mohammad was commissioned by Al-Aam Newspaper in 1971 to make a statue of Sheikh Abdullah Al-Salem Al-Sabah, who was the ruler of Kuwait from 1950 to 1965.

An article published in Al-Watan in 1985 wrote than "Sami has always been faithful to the subjects of his sculpting: humanity and the Arab revolutionary.

In 2004, Sami Mohammad and the Semiotics of Abstraction was published that discussed his artwork and style in great detail.

In a series of articles about Mohammad's life, the Arab Times wrote that "Sami is an artist deeply involved in the human saga.

"[3] In September 1987, the Al-Arabi Magazine while reviewing his work wrote that, "one of the most important elements that gave the formative works of Sami Mohammad a considerable degree of steadiness and strength is his full commitment to the creation of visual and intellectual connection between one artistic step and other.

The Al-Quds Al-Arabi called him "the most prominent aspect in formative art in Kuwait and the Arab world.

"[15] The Kul al-Arab called his work "noisily eloquent" and "his sculptures are the result of a deep understanding of the feeling and suffering of the viewer".