Her digital artwork can only be described as brilliant, socially relevant and thought provoking. Hanna is truly an artist versed in both traditional and digital mediums.
UrbanGOAT. magazine. Toronto, Canada.

The artist comes back to the source and great topics. She observes carefully the contemporary world, while at the same time she looks back to a far but still important past. She recalls the beginnings of our way that leads through the different stages of civilization from the times of the ancient civilization and the Bible. She also recalls the so-called Great Topics (Apocalypse, love, sin, birth, death, Ten Commandments) - strangely skipped by contemporary artists, covered by bashful and often disdainful silence.
She makes mysterious compositions - coming from the abyss gigantic, multi-layer buildings containing archeological layers of culture, elements of the architecture from different epochs. Ancient, Middle Age and contemporary fragments reveal a history and impressive but at the same time useless constructions. Have we got the wall at our level and come to a deadlock, hesitating or even not knowing what level to build next and how to do it not to waste the work of the previous generations. And how to do it for the construction not to collapse and bury us under its ruins.
Piotr Wojcicki “Art & Life” Warsaw, Poland

Hanna Haska, like a present-day Bosch or Brueghel, sends the world a unique, alarming visual SOS, aware of the perils of the twenty-first century, concerned for man's natural and spiritual environment. But her way of seeing the world, shocking as it may be in its accurate pinpointing of the most disquieting perils, is not unequivocally pessimistic as it also shows the possibilities of salvation. This optimism, which people so badly crave, wins the artist constantly new enthusiasts, as her visions emanate the belief that the powers of spirit and reason will not permit the ultimate unsettling of the equilibrium of the planet Earth.
Irena Harasimowicz-Zarzecka, awards winning author

...The density of these images is reminiscent of the fantastic panoramas of the Flemish masters Bosch and Breueghel with whom Haska shares the format of allegorical narrative characteristic. Like Bosch’s Garden of Earthy Delights (c. 1500). Haska presents a narrative triptych that traces a progression from harmony to discord, or more literally, from Heaven to Hell. We are lied from lost Paradisaic gardens complete with golden gates, flowing waterfalls, and lush foliage through a churning cosmos of ecological and cultural systems to a cityscape enclosed in a translucent orb, like a tangible biosphere which is being bent and peeled away. Haska articulates earnest millennial anxieties about the racing accumulation and speed of material culture and mass information. The urgency of Haska’s vision of the tumult and confusion of our ethical and cultural climate translates in the extremity of her representations. As her environments develop, they fill to such a point of saturation that they become increasingly uninhabitable and unstable...
Janice Demkiew,“Landescape”, Mercer Union , Toronto, Canada