Soriano began his career in the 1990s making large biomorphic sculptures in polyester resin. While his earliest works seemed light-hearted and reminiscent of children's toys, his later sculptures became more “vexing,” to cite a critic, suggestive of industrial tools with an indeterminate purpose.[9][10]
In the mid-2000s, during a six-month residency at the Atelier Calder in Saché, in Indre-et-Loire in France, he started making wall installations using aluminium tubing, steel cable, and spray paint.[11][12] The critic Raphael Rubinstein, an editor at Art in America, mentioned these works as examples of what he calls "provisional painting," a style of art intentionally made to appear "casual, dashed-off, tentative, unfinished or self-cancelling."[13]
Beginning in 2012, Soriano's work became dominated by large-scale, wall drawings made of graphite, acrylic and spray paint, carried out on the basis of written instructions, as well as related drawings made on pleated Japanese paper.[14][15] “Simply put, Soriano has become a sculptor who doesn’t make objects,” wrote John Yau.[16]
More recently, according to a museum press release, Soriano has been working on a long-term project that "documents the rapidly changing natural environment of the High North, specifically snow, glaciers, and icebergs."[17] In 2022 and 2023, one work in this project, a 28-foot-long wall drawing titled Ilulissat, Disko Bugt, a reference to the location in Greenland where the artist used "an almost scientific process of observation and documentation" to capture to impermanence of icebergs, was installed and exhibited the Portland Museum of Art in Maine, the Reykjavik Art Museum in Iceland, and the Bildmuseet in Sweden.[18][19]
