And they are made over many stages: first outside in the world and then in the studio. Shooting with her camera in the field, Soren finds or orchestrates light sources:  flare stacks near oil pumps, a glowing window in my neighborhood, car headlights, the reflection in a mirror, a puddle or off the surface of the ocean. She is drawn to the partially obscured view in part because they remind the viewer of the difference between "looking" and "seeing."

Soren is also drawn to the glitches in human perception that make it difficult to see the world clearly. Peripheral vision, for example, can cause even more confusion as it acts as an early-warning system to detect movement. It guides our gaze toward potential threats or targets.  And when something actually impairs our vision—a bright light, darkness, or tears—our brain can conjure objects and feelings that aren’t real. It fills in the gaps.

These images explore Soren’s interest in the difference between human perception and objective reality.  She uses the initial photographs, once they are printed, as a base for handmade marks in paint, ink, acrylic medium, oil and other transparent materials.

The last step in the process is to reshoot the photographs with the surfaces thus laden. Long exposures and improvised light sources -- flashlights, headlamps, colored gels, and traditional studio strobes — allow Soren to use the movement of her body to create layers that both highlight and obscure the picture.  She wants the layers of surface and light to conjure up the existential pressures of our age while utilizing photography’s unique ability to capture light’s ephemeral presence.