Sara Samsøe Moghaddas, Ooooooooh! 1, 2026. Glazed stoneware. 36 × 30 × 35 cm. Signed and dated by the artist. Exhibited in She-Devil at Innenkreis, Copenhagen. Photo by Robert Damisch.
Detail view of Sara Samsøe Moghaddas, Ooooooooh! 1, 2026. Glazed stoneware. 36 × 30 × 35 cm. Signed and dated by the artist. Exhibited in She-Devil at Innenkreis, Copenhagen. Photo by Robert Damisch.
Installation view of She-Devil at Innenkreis, Copenhagen, featuring Yngel III (2026) by Maria Koshenkova and Tridacna Vorax IV (2026) by Charlotte Moreno Kølkjær in the foreground, with Ooooooooh! 3, Ooooooooh! 2 and Ooooooooh! 1 (2026) by Sara Samsøe Moghaddas displayed on white plinths in the background. Photo by Robert Damisch.
Installation view of She-Devil at Innenkreis, Copenhagen, featuring Yngel III (2026) by Maria Koshenkova, Tridacna Vorax IV (2026) by Charlotte Moreno Kølkjær, Ooooooooh! 1, Ooooooooh! 2 and Ooooooooh! 3 (2026) by Sara Samsøe Moghaddas, Cross My Heart (2022) by Maral Taskirici, and Provincial Plank Chair (Brettstuhl) with Carved Knight and Squire, Austria, 1800s. Photo by Robert Damisch.
Installation view of She-Devil at Innenkreis, Copenhagen, featuring Yngel III (2026) by Maria Koshenkova, Tridacna Vorax IV (2026) by Charlotte Moreno Kølkjær, Ooooooooh! 3, Ooooooooh! 2 and Ooooooooh! 1 (2026) by Sara Samsøe Moghaddas, and Cut U Loose (2025) by Sian Kristoffersen on the right wall. Photo by Robert Damisch.
View of She-Devil at Innenkreis, Copenhagen, featuring Ooooooooh! 1, Ooooooooh! 2 and Ooooooooh! 3 (2026) by Sara Samsøe Moghaddas. Glazed stoneware. Ooooooooh! 1: 36 × 30 × 35 cm; Ooooooooh! 2: 26 × 30 × 24 cm; Ooooooooh! 3: 37 × 30 × 25 cm. All works signed and dated by the artist. Photo by Robert Damisch.
Sara Samsøe Moghaddas Danish-Iranian, b. 1991
14 1/8 x 11 3/4 x 13 3/4 in
Further images
Ooooooooh! 1 (2026) by Sara Samsøe Moghaddas is a ceramic sculpture depicting a human head with an exaggerated, almost theatrical expression. Its heavy eyelids and small, rounded mouth suggest a moment of surprise, pleasure or disbelief, leaving the emotion deliberately ambiguous. The roughly textured, pale surface contrasts with the playful details of striped ears and a turquoise hat on top of the head.
Presented as part of She-Devil at Innenkreis, the work engages with the exhibition's exploration of femininity as performance. Its exaggerated facial features recall the expressive language of caricature, embracing humour and the grotesque rather than conventional ideals of beauty. The open mouth becomes particularly suggestive in this context, allowing the figure an expression that is difficult to categorise or contain. Through this ambiguity, Moghaddas offers a playful challenge to expectations of how femininity should look and behave.
