At the beginning of the 1990s she found important mentors in Ute Eskildsen, head of the photographic collection at the Museum Folkwang, Essen,[4][5] and the writer John Berger, who accompanied the creation of her works Forest (2000–2005) and Horse (2007–2016).
In 2019, the National Gallery Prague realized the large-scale solo exhibition Silences, curated by Adam Budak, which made the conceptual lines within her work visible for the first time.
Under the influence of the political and social upheaval after the fall of the Berlin Wall, the series is a photographic forensic investigation in which she portrays the village, its residents within the rural landscape of her childhood.
Rokytník was informed by portraits embedded in the landscape, animals appeared as part of rural life, a woman taking joyously a goat as a dance partner, equally tall like her on its hind legs, and a shot roe deer in the hands of a hunter.
[11] A roughly equal amount of photographs of almost abstract details of architecture, an oil patch or a picture of a plane on an foggy airfield and some landscapes translate as well into uprooting and anchorlessness.
In Brixton windows appear several times and work as a metaphor for the "between", a term Hanzlová uses to describe the different connections between the interior and exterior, the individual's situation in its living space and the historic dimension of belonging, loss and alienation.
"[13] Nature does not appear in her long-term projects Forest (2000-2005), Vanitas (2009-2012), Horse (2007-2014) and Water (2013-2020), only as a physical image space, but also as a “psychic energy field”, charged with the potential to make metaphysical themes visible.