A year after graduation the artist presented her first paintings during her individual exhibiton in the Gallery ‘Szalom’ located in Cracow. The first works of the artist presented still life. This exhibition was named ‘Zaklęte rewiry’ (En. Charmed places). Her works presented the typical Silesian landscape in a designedly abstractive way: mines, abandoned shafts, „familoki” - typical Silesian tenements for miners’ families; postindustrial architecture of cities, such as Mysłowice, Katowice, Nikiszowiec, and other Silesian cities and towns. This exhibition reverberated around Cracow, and many Cracowian newspapers published many articles about that event. However, the formal abilities, workshop, or just the popular (for these days) subject of paintings did not decided about her success. It was just the secret of beauty of these works which decided about it - a pure poetry, the idea taken from the tradition of the so called Polish colorism, a trend in Polish art during the 1930s.                                                                                                                                                      

 In the following years, the artist focused on nudes presented on the background of a landscape. The artist’s style features throwbacks, presents her love for the past – not only in the intellectual or formal realm. Here, a woman is only an excuse to create a masterful two-dimensional composition; moreover, the woman acts as a medium of ideas for figural compositions. Anna Maria keeps a sense of proportion in the sphere where the idea is balanced by formal- and workshop issues. The form of canvas can be described as ‘buoyant’, yet it’s not easy to define them with words. You can’t say that they’re just nudes. You can see many threads in these works. Threads, which might be very close to your heart. But there’s no doubt: the universality of the artist’s art, the poetry coming from her canvas, their warmth – they all give us the possibility of various interpretation.                                        

The newest paintings of the artist present women who are playing the musical instruments. Here, the old train stations and ‘familoki’ (En. typical Silesian tenements for miners’ families) act again as the background of Anna Maria’s paintings. Time, evanescence, and journeys play a huge part in the artist’s art. However, in the cycle of painting ‘Four seasons’ we can observe the issue of interpersonal relationships, especially the relations between men and women. There’s no denying that her works contain a considerable amount of eroticism, which was present in religious art, especially in the High Renaissance era. Yet this eroticism is not regarded as intrusive. Jerzy Nowosielski was asked about the eroticism and its presence in his works – according to him, a bare knee or an arm is more mysterious than literary a complete nude – it almost  involves sacredness. A similar idea can be observed in Anna’s paintings. Sacrum (Lat. ‘the sphere of sacredness’) in her works is noticeable – the form of nude is almost a result of mathematical equations and figures. The artist herself proves that such an idea in art and life makes sense when all measures are balanced. And finally, the most important thing: the art does exist only when the three elements of the universe occur together: the Truth, the Good, and the Beauty.                                                                                                                                                             

Anna Maria Rusinek presented her works in many individual exhibitions and her canvas hang in many private collections in Poland, Europe, and the United States.