If art can be a form of simulation 
of experience, similar to the one that can sometimes be found in dreaming, a substitute for real experience,
 then Anna Orlowska’s Leakage,
 as well as her other works, can be
 seen as an attempt to construct such forms. Although mental image here usually precedes photographic image, the author’s attention is focused 
on the outside world. The world
 and human activity are the material
 for these images. At the same time, for Orlowska, the photographic image is the most minimalist among these forms—flat, immovable, the entire universe reduced to a piece of paper closed in a frame. Everything that takes place before such an image is made remains invisible, yet it is still able to a affect us. Therefore, images are meant to point to these invisible spaces, concomitantly posing questions on the meaning of depicted objects
 and scenes. They attempt to examine the thin line between the visible
 and the invisible, between illusion
 and reality—a line around which we are constantly balancing, seeking answers to the basic questions
 about the sources of our self and our needs. For Orlowska, to see does 
not mean to know, so she observes and translates her surprise and her questions into open images.