Gizella Varga Sinai was born in Czestochowa, Hungary, moved to Austria, and studied at the Vienna School of Decorative Arts, where she received a BA in art teaching. There, she met Khosrow Sinai, an Iranian filmmaker, and married him, and in 1967 she came to Iran with her husband and settled in Tehran. A year after that, Gizella's first solo exhibition was in Tehran's Modern Art Gallery. In 1978, she won the "Mirror in the Mirror" exhibition prize. Gizella taught at Tehran's contemporary studio between 1981 and 1987, then taught art in the schools of the German Embassy for 25 years. Gizella became a member of the Dena art group in 2001. A group of Iranian female artists (including Faridah Lashai, Farah Usoli, Maryam Shirinlou, Shahla Habibi, Rana Farnoud, etc.) who, in their 6-year career, have had exhibitions in different countries of the world such as Poland, Switzerland, Hungary, Holland, Belgium, Germany, and Iran. The most important of these feats occurred in the United Nations building in Geneva, the European Parliament building in Brussels, and the Ludwig Museum in Koblenz. These artists also exhibited their works in Zanjan, Rafsanjan, Isfahan, and Yazd.

Most of Gizella's paintings subjects are simple scenes that everyone, including the painter, comes across in their daily life; if, like her, he is Hungarian and lives in Iran, what he remembers from these sights are things like Sizdeh Bedar, Looti Antari, Amoo Nowruz, etc. But Gizella's perception of such factors and mirrors differs from what every eye sees. She does not hesitate to express the most instinctive and emotional comments about these issues in her paintings. Thus and for this reason, in the Sizdeh Bedar painting, she paints the samovar in green, the saucer cup in yellow, the waxy shoes in blue, Looti Antri in green, and so on.

Gizella wrote in the catalog of her first solo exhibition at the New Art Gallery: "In short moments, inexpressive feelings are hidden. So inexpressive and fleeting that they can neither open a lip to laugh nor tear an eye. The only sign of their existence is the color that changes in a moment, and that's it. I am happy if I can find such lost feelings in a tangle of my lines and colors, which are so short and compressed in moments." By mentioning these lines in the book Ninety Years of Innovation in Iran's Visual Art, Javad Mojabi emphasized the narrative character of Gizella's paintings. Mojabi writes about the later period of her works, which take on a more bitter color: "Gizella's creatures such as idols and stone idols, animal men, ruined and abandoned buildings, faces covered in dust, buried in slippery moss and deep water; to reach present, in this interval of corrosive time, they lose their vital power; Faces become blurred, stones crack, buildings topple from their foundations, and everything from its healthy existence, until it wants to reach the present, is distorted, becomes sick, and is broken by horrible nightmares; And what ends up here is a corpse that can't justify its presence... She tried to dust off the past."