During her studio practice in the Kadaň church of the Fourteen Holy Helpers, the artist became interested in murals, a field which she subsequently pursued in her diploma. She explored the binding agents from the point of their constancy, removability, and impact on the porosity of walls. She also restored the Baroque polychromed sculpture of Saint from Smečno. Its exterior location resulted in a substantial loss of polychromy and embrittled fragments. The intervention mainly aimed at reinforcing the damaged layer and cleansing the surface. In the painting Kiss by Otakar Mrkvička (1940) Píšťková solved that the entire painting layer, affected by high temperature, heaved up into frail blisters. In the case of Karl Burkhard van der Klee’s portrait, dating to the mid- 18th century, it was necessary to re-integrate the torn canvas and remove secondary additions.