She grew up in the village of Tupá near Šahy, where folk customs were still alive at that time. She still recalls the spring processions through the village in traditional folk dress, and she tries to incorporate these memories into her glass paintings. She has been painting since 1995, but she had a penchant for painting since childhood. Her father was also a painter, and it was he who she found old oil paints from when she was twelve. She experimented with them, creating a painting of a ballerina without any theoretical knowledge. People liked it, which motivated her to enroll in a folk art school. She was taught by the accomplished academic painter Štefan Varga, which influenced her further studies as she chose art education at the Pedagogical Faculty in Nitra under the notable academic painter Ľudovít Jeleňák.

She discovered glass painting at ÚĽUV in 1993 through master Michal Škrovina during a course she attended as a member of the educational club at the cultural center. Since then, she has remained loyal to this technique. In 1996, she submitted her paintings for review to ÚĽUV and not only were they approved by the art committee, but she also received an offer to teach craft courses, allowing her to delve deeper into the history and theory of glass painting.

Staff members at ÚĽUV, Janka Menkynová and Martin Mešša, helped her improve both the content and formal purity of her artistic expression. Under their influence, she studied the traditional clothing of Slovak regions and learned to incorporate additional details and objects from the traditional material culture of the people into her paintings.

Sometimes, all it takes for her to create a story is a single object, which she then complements with her own memories. She tends to avoid biblical themes as she is not entirely comfortable interpreting them, so the only being from this thematic circle that appears in her paintings is an angel.

At the ÚĽUV course, she learned to paint on glass using tempera mixed with duviline, which is the closest to the traditional method of glass painting in a traditional setting. Over time, she replaced tempera with acrylic paints, which do not require mixing with glue and dry more slowly. She paints on clear white glass that is two millimeters thick, without any base coat, resulting in her pictures – although thematically similar – always being different.

She allows each thin layer she applies to her paintings to dry thoroughly to avoid later cracking. She adds layers systematically in the same shade until the glass is no longer transparent. Thus, she emphasizes patience as the most important human trait in glass painting. Her color palette is primarily characterized by ultramarine blue, purple, mossy green, ochre, and various shades of brown. She considers natural brushes to be the best but expensive, so she uses them sparingly. She carefully considers costs to ensure that the price of the final piece is “folk,” making it accessible to a wider audience.

Today, when she thinks about why she paints, she feels that she cannot be without it. Even when she takes a break for a while, she feels uneasy and only calms down when she starts sketching a new design. Although, like any modest person, she feels that she doesn’t know something as she delves deeper into the technique. This drives her to study and improve her skills to be better every day than the day before.

In 2018, she was awarded the title of Master of Folk Art for her work in glass painting.