Greatly drawing on musical creation, deejaying and its networked dissemination modes, Sorenson's practice is defined as a "remix art," in which he questions notions of originality and authenticity in an era of overabundant digital information. He renews the visual language of renowned international visual artists to redirect their iconographies towards new themes and materials.

In thus foregrounding acts of citation and sharing, Sorenson's work embraces a broader spectrum of creative gestures and an artistic vocabulary that is more inclusive than what might emerge from a solitary studio production, to notably unsettle the idea that art is created in a vacuum. For the series, L’Anthropocène de Halley, the artist is working in the style of Peter Halley's geometric paintings in view of producing a large number of images, transposed onto paintings, prints and digital animations. The works will evoke the modular infrastructures of post-industrial societies, ranging from computer hardware to office cubicles and intensive agriculture systems; all of which are structures that accumulate to occupy an increasingly large expanse of the planet, to the point of causing real ecological and geological impacts.

Oli Sorenson was first recognised in London, after taking part in numerous media art events at the Institute of Contemporary Art (2003-06), Tate Britain (2006), and the British Film Institute (2008-10). He also established an international profile when performing at ZKM (Karlsruhe, 2002), ISEA (Helsinki, 2004), Mapping (Geneva, 2009) and Sonica Festivals (Ljubljana, 2012). After moving to Montreal in 2010, Sorenson redirected his work towards gallery based projects, and since exhibited at The Power Plant (Toronto, 2014), FILE (São Paulo, 2015), Monitoring (Kassel, 2017) and Art Mûr (Berlin, 2018) and Elektra (Montreal, 2019).