Maria Keil worked tile in a very advanced perspective for her time. She quickly realised that the patterns usually transcribed into tiles didn’t conform to the 1950s nor met the requirements of the METRO’s major coverings.

For the 1st phase of the network, she submitted a proposal with motifs which was rejected by the Company in 1958. With the ban on figurative elements, the painter opted with geometries involving rhyth and sense of continuity.

By invitation of the METRO, Maria Keil first presented at a station (in 2009) individual panels, with patterns tiles, and through its dematerialization and coupling, she drew panels with various patterns representing trees and creating a light and fresh atmosphere, relating it with gardens on the surface.