Almost all of Sotiris Sorgkas' conversations, under the title "Dialogues," with selected journalists and poets in newspapers and magazines, could be said to transform the typically opportunistic nature of oral communication into a high-level essayistic expression of thought.

This phenomenon is attributed not only to the highly artistic topics discussed but mainly to the lofty spirituality and composure of the painter himself. As a result—whether it concerns topics of painting, which have been exhaustively addressed through the centuries, or political and social topics, as recorded amidst the tumultuous conditions of the 20th and 21st centuries, with their consequences being obscure on the overall perception of painting—the calm evaluative and penetrating manner of Sotiris Sorgkas becomes a complete tool for one to joyfully delve into the secrets of an incomparably redemptive and therefore humanitarian art.

No matter how great the gap often is between the discussed parameters of an utterly spiritual art such as painting, Sotiris Sorgkas manages with his responses to unify the recognized opposing "purposes" in relation to painting, to the extent that its social mission becomes even more significant as its artistic prominence remains important.