„Systematic breaks – fluidity suspended and chaotic, calm is not meditative but more like the silence before a storm. Tension is a constant element of the images, carefully masked by colorful, floral compositions. The mystification is nevertheless impermanent, torn, unstable, giving rise to uncontrolled decay. Illusion dissipates, revealing rot – the queer performance is only a performance. Otherness and oddity lead directly to – indeed – the incessant becoming, or rather, metamorphosis. In this cycle of life-death, change, and the fruit-and-flower riot of colors, there is something hypnotic.”

Jakub Wydra, excerpt from the review of the exhibition “Rajskie ptaki”, Restart Magazine, no. 19, autumn 2025

“The fleshy, ornate works of Samuel Kłoda have something extravagant about them. The birds’ feast by a bowl of fruit (Feast) recalls illusionistic Pompeian painting, but in a more expressive, sketch-like version. The (probably open?) cage in A cage for a canary disappears into space against a backdrop of white lilies and the lush purples and reds of the room – or perhaps the sky? Fragments of one flower’s petals appear in the foreground, as if we were looking at the scene through the eyes of a “narrator,” an implied viewer. If so, we also see “our own” tanned leg resting against the wall. A sultry, summer scene with a sad canary”.

Wiktoria Kozioł, excerpt from a review of the exhibition “100 Years of Community” at the Labirynt Gallery in Lublin, Miej Miejsce, February 2025