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In the 1960s she began using the traditional medium of printmaking in an experimental manner. She is especially noted for her technique of building the image using dots before incorporating other forms.[2] Around 1965 she began perforating metal with a shoemaker's awl, printing the motifs created and also exhibiting the perforated tin matrixes as art in their own right. Many of the perforated tins exhibit figurative references. Further experimentation with materials and strong color led her to embrace the aesthetics of Pop Art.[3]
^Altmann, Susanne; Lozo, Katarina; Wagner, Hilke; Staatliche Kunstsammlungen Dresden, eds. (2019). Medea muckt auf : Radikale Künstlerinnen hinter dem Eisernen Vorhang The Medea insurrection : radical women artists behind the Iron Curtain. Köln: Walther König. p. 199. ISBN978-3-96098-527-3. OCLC1099843511.
^"Sauna 4". The Art Institute of Chicago. Retrieved May 20, 2019.
^Altmann, Susanne; Lozo, Katarina; Wagner, Hilke; Staatliche Kunstsammlungen Dresden (eds.). Medea muckt auf : Radikale Künstlerinnen hinter dem Eisernen Vorhang The Medea insurrection : radical women artists behind the Iron Curtain. Köln: Walther König. ISBN978-3-96098-527-3. OCLC1099843511.
^ abcMedea muckt auf : Radikale Künstlerinnen hinter dem Eisernen Vorhang = The Medea insurrection: radical women artists behind the Iron Curtain. p. 235. ISBN978-3-96098-527-3.