Between 1961-1966 she studied under professor A. Kybal in the textile studio at the Artistic-Industrial High School (VŠUP) in Prague. During the first half of the 1960s she focused on constructive, geometric painting, serial paintings of structures composed of tiny geometric elements. In her earlier works she applied a structural principle of atlas bonds to paintings and objects. The point structure of her painting series from the 1960s is a technique she would later return to in the 1980s using rabbit motifs. This structure comes directly from methods for drawing textile matrices. She followed, in this way, the stream of Czech geometric abstraction, which she presented at the exhibits, Constructive Tendency / Konstruktivní tendence (1966) or New Sensitivity / Nová citlivost (1968). She developed constructive geometric painting at the end of the 1960s in the space of relief images and geometric objects. In the late 1960s / early 1970s she adapted this to the open landscape in land art events with the music group, Plastic People, and artistic circles associated with the Křížovnická Škola group. In 1969 a key exhibit, Hay-Straw / Seno-sláma (as part of the show, Somewhere something / Někde něco by B. and J. Kolář) took place in the Špálová Gallery. Both the media and most of the creative art scene criticised this work for its „depravity.“
During the period between 1969 – 1972 she did indeed realise several events in out-of-gallery spaces and in the open landscape. Of course she had otherwise been prohibited from public acts for a long time. She addressed paraphrasing and quotes in the iconography of medieval tapestries. She also discovered the rabbit motif on these old tapestries. This became her guide and the main theme of her creations. She explores the rabbit as a carrier of diverse historic and cultural contexts, but at the same time she plays with its forms as a would-be, beloved, domestic animal. At the start of the 1980s a series of pictures came into being, in which the painted outline of the rabbit is repeated in a serial structure, whose beginning point is once again atlas bonds. The structure develops most often from rotating rabbits of two different colours. Her several-year-long work on painted structures with many hundreds of rabbit figures ceded its place to dynamic stamp pictures. In these the number of rabbits floated in circular and spiral formations from the centre to the edges. She created other drawings, on which she worked with a live rabbit, using colour footprints from rabbit’s feet. The artist combined these with drawing of rabbit silhouettes, using the help of written texts related thematically to the rabbit.
Photocopied archaeological and scientific drawings or ceramic signs became a further material she would work with. The clever manipulation of individual signs or parts (thereof) led again to geometric structures. This time, however, they were conditioned on the internal activity or the aesthetic or emotional experience. This method stemmed form the principle of programming; she showed off photographic or reproductive gestures in ritual painting. By uncovering symbols of older cultures and in combining them, she demonstrated cosmic forces and natural law, interpreted in characteristic compositions in other works based on the symbolism of the yin and yang principles. Since the 1990s she has focused on the conceptual research of the rabbit’s mythological meaning, on Chinese mythological symbols and shape elements found in archaeological drawings.
