Old timber and rusted metal parts, are central to Sorogas’s iconography. The scattered, useless, broken, weathered fragments are taken out of context and placed in the center of large canvases, a product of meticulous observation and detailed drawing, emphatically presented in dramatic close ups. The color scheme is limited: black, grays, sepia/rusted browns and sometimes red stand against the bright white background. The hint of blue, among the objects and the background suggests the presence of the sea.

The photographic realism and the characteristic immaculate style of the canvas add a documentary aspect to the image, emphasized further by the ‘literal’ descriptive nature of the title. Those documentary aspects, strongly contradicted by the poetic aspect of Sorogas’ work, convert the depicted objects into symbols.