The grey swirls in the painting from the time of her snowscapes, covered with signs and words, look like a shot from somewhere high above and far away, like a climate map of the Earth with its currents and cyclones, yet it pushes from the negative of the camera that photographed the white square of snow. If we didn’t know that the grey and familiar-looking, yet hard- to-define painting above is based on a zoomed-in photograph of a pothole, our eyes and minds, searching for something recognisable, would perceive it simply as an abstract image. Inviting like an oasis, the human settlement with snow-capped buildings reaches into the distance from the desert-like foreground that resembles a mirage. Fragments of reality, perfect in detail, lose their meaning and consistency when combined together. They seem so random, even though they are completely intentional. Such is Anna’s way of undoing realism through … realism.