In the subsequent years, Eva Aeppli’s second block of works appeared: Large-format paintings, oil on canvas, in which large numbers of heads are usually depicted. They are, on the one hand, death’s heads, skulls, and, on the other, stylized faces; sometimes still more skeleton parts are visible, sometimes the heads are adorned with flowers. The images are called Le Fleuve (River), Minuit (Midnight), La Fête (The Fest) or Champ des Tulipes (Tulip Field); they are reminiscent of morbid depictions of the dead, of photographs of piles of corpses, of war and concentration camps.
The mid-1960s saw the creation of the first textile sculptures, life-sized figures with impressive faces and long, thin hands. La Table of 1967 (now at Moderna Museet Stockholm) shows 13 figures, sitting at a table, an interpretation of the Last Supper, without a Savior, though. On a smaller scale and darker is the group of likewise 13 figures bearing the title Hommage à Amnesty International (now at the Centre Georges Pompidou, Musée National d'Art Moderne, Paris), black-clad forms whose faces are petrified in silent suffering. Furthermore, Eva Aeppli created individual figures which, sitting on chairs, function as silent watchers of the world. An intensive confrontation with astrology, which began from 1975 in collaboration with astro-psychoanalyst Jacques Berthon and artist Eric Leraille, led to the creation of various groups of figures, the first of which was the Die zehn Planeten (The Ten Planets), which were shown in 1976 at the Biennale in Venice. After the Biennale the artist decided to have the heads of the Planets cast in bronze. She gifted the hands to friends; the figures’ bodies were destroyed.