If light and shadow, the minimum prerequisites for vision, are not at hand, we must find the inner light source of the eye, where things that remain invisible in real life are stored as if on a photo negative. This discovery became the basis of the 2014 painting series Prisoner’s Cinema and accompanies Anna to this day. Ever since, she can probably paint snow blindness, made visible by the camera eye, with her eyes closed. Just like on the photo negatives back then, in this exhibition too we can see many different gradations of grey. The pattern they form is reminiscent of the beginning of things, the origin of the world, with the artist taking many liberties in interpreting its forms of manifestation. It should not be forgotten that Anna, who has previously designed exhibitions, is perfectly familiar with the properties of grey in highlighting other colours. However, in the exhibition At Arm’s Length, everything works the other way around: the same grey, assigned to support other colours, devours them, turns them into chamber tones and absorbs them. That is until, viewed from a certain angle, the grey tones of both her paintings and the aluminium plates on which they are painted start to shine like carefully polished silver.