On the one hand, Krawiec developed her original formula for photographic art in the collections of landscape photographs she has created since the end of the 1990s. On the other, she owes her unique approach to her explorations into the potential of portraiture (among others, Loch-portrety, 2001). Both her photographs of places, be they buildings or nooks and crannies in cellars, and her photographs of people share a sombre, heavy atmosphere, somewhat evoking the writings of Franz Kafka and Bruno Schulz or else the films of the Quay brothers.
The project that brought Krawiec success and critical acclaim was PALACE – My Love (2004), which was dedicated to Warsaw’s Pałac Kultury i Nauki. This edifice, built in 1955 and called "Beijing" by Warsaw residents (a nickname deriving from its real name in Polish), continues to engender extreme emotions to this day. For some, it is a beloved symbol of post-war Warsaw, for others, a despised reminder of Soviet domination. For Krawiec, however, "Beijing" is simply "her palace", literally and metaphorically. She takes it for herself, pets, embraces and photographs it. From a phallic "protuberance" dominating the city centre, the palace becomes a small, intimate, literally pocket-sized toy. Her unusually authentic history of the palace says much more than the pictorial landscapes brought from countries of the Orient, traces of a trip painted with light (disORIENTation, 2003–2007). Undertaken in a very personal manner, the theme of her bond with the Palace, which Krawiec calls “her love”, leads to a re-evaluation of the architectural landscape theme present in her work.