She is not interested in making just nice, classic pieces from gold, silver and gemstones. Her brand is the opposite of the ubiquitous modest designs which no longer surprise.
Orska includes the elements of surprise and excitement in each new collection. The first shock is always the material – found in an attic, in an old factory, in the woods, in excavations, on the beach, in a harbour, during an exotic journey. The second shock comes from the way it was processed – Orska isn’t afraid of getting her hands dirty. Her workshop looks more like a carpenter’s workshop, glass factory, alchemist's laboratory, and a blacksmith's forge all in one. There are machine tools and hammers. She collaborates with a few highly specialized factories to make her bigger collections.
Orska says it all started out when she was growing up in the times of the Polish People’s Republic. Because nothing was available, you had to really explore and use your imagination, in order to look nice. As a designer, Orska implements this logic into her way of thinking about the brand. The third shock comes from the fact that the upcycled items and trash combine to create a new, original quality. Orska has raised the act of saving ‘trash’ to the status of art. It is never just an aesthetic solution – the jewellery is just begging to be treated as a carrier of symbols, and Orska does just that.
Her jewellery fulfils several functions: protective (as in the series Revolt, which mainly consisted of knight figurines, bullets and skulls), magical as in the collection Khipu, inspired by the Inca's threaded recording device or Astro, dedicated to the alignment of the stars. Some collections are rich in ornamentation – like Ornare or Moon. Others are an innuendo about the most popular trends in jewellery although with a sense of humour and irony (like Memory), or culture in general – like Pills, which is her comment on the ubiquitous pill-popping.