Froso Efthymiadi studied pottery-making in Vienna and for a long period made works exclusively in terracotta in a realistic manner. In 1955 she abandoned terracotta and turned to the use of metal, while the realistic rendering began to lessen and the figures became very abstract, but without the physical form itself becoming unrecognizable.
The female figure provided the spark for the creation of a multitude of both small and large compositions which, sometimes static and other times in motion set forth the personal view of the sculptor in regard to the rendering of female charms. From around the end of the Fifties she started using hammered metal rods. The rods were welded together having empty spaces left between them, thus allowing space to enter the work and become a dynamic element in the composition. Using this technique she created some of her most interesting works, such as the “Nymph”. These works, almost completely abstract, are characterized by intense motion, sometimes evolving and other times rushing forward.