Her initial contact with the art world was through modeling for her husband Zdzisław Sosnowski's art projects. In 1978 she took up her own creative work and together with Sosnowski released the first movies: Goalkeeper – 1975/77; Permanent Position – 1978/79; Other Side – 1979/90. The films mirrored the changes occurring in Polish art in the end of the seventies when artists were looking for highly emotional and subjective means of expression. She called her movies “images of the imagination in motion”. Art critic Szymon Bojko wrote:
Tyszkiewicz’s films penetrate the areas of subjective experiences and impressions, they stimulate the imagination and try to escape from intellectual domination. They are created in a reality, which reveals itself in sensory perception, in a micro-environment experienced in a specific way – through fragments, scraps, details and unrecognizable fractions. They present their irrational existences and meanings, causing a whole chain of reactions, but they have neither a beginning nor an end.
In one of her earlier works, Permanent Position, Tyszkiewicz and Sosnowski tried to analyse the internal psychological processes occurring in the relation between man and woman by building visual equivalents of their interaction. The work is filled with sexual emotions emphasised by the use of props, such as a small fur or cigar, and visualises the subtle tensions created from their interaction.
In the movie Grain Tyszkiewicz juxtaposed her naked body in a pool of grain with various objects, materials and mechanisms thus reducing herself to a 'fragment of animated matter'. The organic nature of her body was contrasted with the cultural, represented by the figure of her father in the background and even her varnished nails.
In 1982, the artist left for Paris, where she began working with pins, she explained:
In France I began to develop an idea, which I brought with me from Poland. I wanted to compose paintings from pins. They simply haunted me. This poor object became magical to me. The prick, the resistance and the urge to overcome it. Pins provoke me, they induce new propositions. They are gentle upon taming, but in the course of my work I’m scared because they are dangerous, aggressive. They might symbolise the struggle to overcome obstacles
Working with pins involved sticking up to thirty thousand pins into various surfaces. The pins played a symbolic role and simultaneously in the hands of the artist pins were a means of putting chaos in order. "The process is an experience. It’s an action. (…) During work I feel like a point, like a prick of my pin", she said. Pins functioned in Tyszkiewicz’s paintings in various ways. They might be stuck into a canvas, or conjoined with acryl or oil paint, soldered onto metal sheets. The struggle with the materials was a kind of a psychological or metaphysical fight. Writer Barbara Askanas wrote about Tyszkiewicz’s work:
The kingdom of Eros is the area of this non-antagonistic fight, which has its biological source in the sexual and self-preservation instincts. That is where the author leads us to, placing in her works fingerposts in the shapes of bulging phallic and vaginal forms. Their presence enables us to understand other artistic elements, such as pins in paintings or seeds in films, as symbols of vital human energy.