Among the first women from Mala Čausa, she was apprenticed to batik Easter eggs by Maria Ďurdinová, who brought this technique from eastern Slovakia. Gabriela Dobrotková, the mother of Margita Šimková, was also a skilled craftsman. Margita Šimková still remembers the beauty of her mother’s finished Easter eggs, although she also recalls the challenging process of dyeing them in a solution made from crepe papers, into which she was urged by her mother as a schoolgirl. She still remembers how embarrassed she felt among her classmates because each of her fingers was a different color… That’s why she didn’t have the most positive relationship with Easter eggs back then and didn’t think she would ever make them herself.

The Dobrotka family were a family of railway workers. The father served as the chief treasurer in Handlova, while the mother labelled the wagons coming from the mines – during the times when coal was mined in Handlova, it was a station with continuous operation. The railway also fascinated young Margita, especially the stationmaster in the nearby Chrenovce, as she raised the target and greeted the trains. However, when she took up her dream job after studying, she found out that it wasn’t as easy as it seemed in her childhood… Night shifts, exposure to cold, housekeeping responsibilities, lack of sleep, all took a toll on her health, until finally, in the late 1970s, she had to leave her railway job.

During the transitional period when her employer granted her a year of unpaid leave, she tried, in order to provide for her family’s budget, decorating Easter eggs, which she learned from her mother was a way to make a living. She became active in 1977. She enjoyed the work and also at the ÚĽUV, where after presenting a sample collection, she was offered a full-time contract, which at the time meant a regular monthly production volume and income. Initially, she created batik Easter eggs, later also relief waxed and straw-covered, according to ÚĽUV’s requirements. After 2000, she also included the technique of perforation in her repertoire, following the intervention of ÚĽUV’s artists, but by then, sales opportunities were not as they were before 1989. Her style is characterized by creativity and precise, well-mastered technique. She has always been a reliable collaborator, especially during demanding periods of increased export requirements. Today, she mainly creates during the winter months, while in the summer she indulges in another hobby – gardening. She uses eggs from her own breed of chickens, valuing the Vlaška breed with its beautiful white eggs.

In 2004, she was awarded the title of Master of Folk Artistic Production together with other Easter egg craftswomen from Čausa.