Amidst vivid hues and vibrant coloration, Sora’s paintings divulge historical, environmental, and psychological landscapes. Informed by her experience and global perspective of life in the Middle East and abroad, Sora uses the element of water as a symbol of flux, resilience, and rebirth amidst shifting attributes, exposing human necessity and vulnerability. Through an insightful use of iconography that yields both ancient and modern connotations, Sora employs early Mesopotamian aesthetics that also parallel abstract figurative zeitgeist, achieving an uncanny visceral notion of time and nature as cyclical.

In ancient Sumerian and Akkadian mythologies, the abzu are mystical underground aquifers inhabited by deities believed to provide water to lakes, rivers, marshes and wells, springing forth regenerative powers. Water’s ability to both nourish and destroy is a characteristic Sora examines alongside themes of entropy, healing, archetypal experiences, and natural occurrences that know no borders.

Water, and its collision with fire, is also a recurring theme in Sora's work, and arises from the destruction of marshes and rivers in Iraq—the result of numerous wars, prolonged drought, and human abuse. Abzu addresses the lost fertility below the alluvial fields that were once able to sustain Iraq. However, this phenomenon is not strictly limited to Iraq, as evidenced by current threats of rivers and other bodies of water drying up or collapsing under the onslaught of global warming, diversion, mismanagement, wildfires, and the displacement of human population.

Working with oil, acrylic, and raw pigments on canvas, her atmospheric surfaces are layered with optical ambiguities that allow her to express untold emotional landscapes. Echoing the way in which earthen matter is recycled post-tectonic collision, Sora believes society oscillates within a cycle of entropy and regeneration. Like nature’s ability to replenish beauty amongst the detritus, we too emerge to rebuild and survive.