As a little girl, she remembers batik painting Easter eggs in her family. Later, as an adult, she always made a few Easter eggs for the basket, using both batik painting and wax painting techniques. One day she found wooden Easter eggs in a magazine and fell completely in love with their beauty. The reason surely also lay in her love for this type of fabric, as her wardrobe was full of dresses and skirts made from white linen.

She is self-taught, so she had to try everything on her own – from blowing out eggs to decorating them. Occasionally she would read something in a magazine, but at that time the perforation technique was not yet widespread. At first, she tried to make holes in the egg with a file, and later she switched to using a drill. In perforated Easter eggs, the blowhole is more important than with other techniques. The shell must be without a single crack, otherwise the egg will fall apart after cleaning it from the inner membrane. With the current volume of work, when she earns a living by making Easter eggs, she uses a compressor for blowing out. Alongside Easter eggs, as part of her livelihood, she also practices silk painting and glass engraving techniques.

She is happy to share her experiences with other people. Reflecting this are her teaching activities at the Regional Crafts Center of the Slovak Crafts Association in Košice. She is constantly amazed that every egg has a different shape, no two are the same. The variety of shapes proved to be problematic when creating series of Easter eggs inspired by positive-negative blue-dyed patterns. The same pattern sounds identical on each egg differently. She draws inspiration from embroideries and folk costumes from the Michalovce region. Initially, she tried classic white linen with white patterns, later adding colors from the Zemplín region costumes (yellow, green, and shades of red). She added a delicate strip or flowers in these colors to the Easter egg, with white linen still dominating. Another inspiration for her was the aforementioned blue-dyed color, and later she added black to the basic white. She enjoys expanding her knowledge of patterning because, as she says – the chests of our ancestors are bottomless wells of inspiration. She applies patterns with pins, lines are not full lines from start to finish, rather stretched drops. She has been collaborating with the Slovak Crafts Association since the beginning of her work and thanks to the advice of its artists Božena Dostálová and Mária Farkasová for many advances in her work. The ultimate measure of the quality of her work is whether she likes the Easter egg herself. If not, she won’t let it go…