Through her artistic career, which spanned four decades, she continually developed her artistic style, which took her down ever more ambitious pathways. In the mid-1960s, she began to experiment with works which excluded the figurative form all together, instead opting for purely abstract compositions. While she worked in a whole range of mediums, from stone, to bronze, to plaster, but the material she became most known for experimenting with was the combination of fiberglass and polyester resin (a material technique which she picked up while on an industrial arts study trip to the Bayer factory in Germany during the mid 1960s). This material experimentation is most readily seen in her sculptural cycle called "Open Form/Otvorenih formi", a series of works which is characterized by a variety of warped and bulging white spheroids (startlingly organic) that are sliced and splayed to reveal internal colors and dimensions. Sources cite her as communicating that she felt these works of hers to be "deep studies of the female form", very much evoking qualities of the American painter Georgia O'Keeffe. In fact, Bešlić had such an interest in American art and music that she went as far as to dedicate a 1979 sculpture that she made to the female pop R&B singer Tina Turner [see photo HERE]. A further sculptural cycle that Bešlić is known for is a series titled "Pillows/Jastuci" which she created during the 1980s, through which she sculpted numerous graceful folding forms that took the mundane concept of a "pillow" and illustrated how a such utilitarian object can readily be transformed into something contemplative and aesthetically magnificent.