Frosso Efthymiadi studied ceramics in Vienna and for a long period made realistic works exclusively in terracotta. In 1955 she abandoned terracotta and turned to using metal. At this time her work became very abstract, but the physical form always remained recognizable.
The female figure sparked the creation of many small and large compositions. Sometimes static, elsewhere in motion, these pieces formulate Efthymiadi’s personal view of the harmonious rendering of female grace.
“Lot’s Wife” is her only work that portrays a religious figure. For its rendering, Efhymiadi borrowed the shape of an organic form – a tiny ordinary seashell. With this she conveyed the pure form of a woman who turned into “a pillar of salt.” The very shape of the shell offered the solution for the creation of the work, with its endless coiling and uncoiling. Schematic but totally recognizable, “Lot’s Wife”, wound in her cloak, stands petrified, motionless and silent.