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Collaboration with architects led Eva Kmentová to gradually leave figurative sculpture in around 1963 and move towards symbols, which ultimately transformed into flat reliefs. At that time she created works with a strong existential subtext (Torso of Fear, Fruit, Abandoned Space) and remarkable intimate female torsos. In the sculpture The Silent Woman, Kmentová opens the topic of unconventional forms of physicality. The motif of physicality here does not mean an imitation of outer appearance; instead what is important is contact with the body, haptic perception, fragmentation. Eva Kmentová, a student of Josef Wagner at the Academy of Arts, Architecture and Design in Prague and a member of the Trasa art group, was the wife of sculptor Olbram Zoubek. Her works are represented in major institutions and in public space, such as her works for architecture (Janáček Theater in Brno, Czechoslovak Airlines offices in Belgrade, Dakar, and Singapore, diplomatic missions in Sofia, London, and Washington). Starting in the 1960s she departed from material sculptural forms and cast natural elements (wood, pebbles, leaves) in concrete. She later worked with ephemeral materials (paper) and created collections of drawings (Gate, Dark). Published and reproduced under no. 116 (p. 158), Ludmila Vachtová and Polana Bregantová, TEĎ, Prague 2006, Arbor Vitae. Exhibited in 1963 in Prague, cat. no. 28, 1968, Prague, National Gallery, Czech Sculpture of the 19th and 20th Centuries, cat. no. 34.