A lonely figure, a dark silhouette or a single head between heavy bars, surrounded by wild strokes inside the perspective of a tunnel – motives like these run like a red thread through Soshanas whole work and have earned her a reputation as "Cassandra of the canvas, a prophetess of doom, an artist of the Atomic Age, a painter of anxiety and loneliness, of disease and dementia, of unemployment, pain, and death." (The Mainichi, Japan 1957)