At the heart of Anna's paintings lies literary works of magical realism, as a source of trans confessional patterns that can balance the reader's mind on the verge of reality and reflection. The Author possesses an incredible power of imagination in designing physical spaces created by men and left abandoned. One of them is a palace occupied by cows from The Autumn of The Patriarch by Gabriel Garcia Marquez. Once, a dictator lived in the palace, terrorizing the city. He kept people in such fear that they could not enter the palace even after his death. Nature slowly took hold of it: cows, as the rightful masters of the place abandoned by humans, entered through the open doors and leisurely chewed on moss-covered drapes as if delaying the onset of change. The animals, whose behaviour patterns are always refined and ritualized, may appear chaotic and primitive to us. Cows' behaviour, regarded as a pattern of time, with their swarming figures, chewing, and shooing flies away, translates the experience of duration contrary to the settled drapes; the time parameter operates as the primary means to appropriate the experience from the imagined space.
The setting of the abandoned palace, its curtains drawn, and the cows meandering in semidarkness suggest that the viewer should contemplate the liminal space, a realm of anticipation where unexpressed emotions dissolve into nonexistence, much like they are concealed by a fabric, locked within the chambers of an empty palace — vast expanses of human hope for miracles, caged between war and peace, violence and love, dictatorship and freedom. This is a space of anticipation, a portal akin to what Bachelard suggests regarding the home, where reality is capable of holding us in a sense of the uncertainty of the present moment sustained by memories. Behind the text, as if behind the drapery thrown over tables and couches, crystal chandeliers, and mirrors, we keep our experienced emotions and recollections deeply embedded in Anna's paintings.