During the war, she was in the German prisoner of war camp in Weinsberg from 1944. In 1945, she found herself in London, where she worked for UNRA, at the same time attending painting and drawing courses held in London museums. After arriving in Canada in 1952, she settled in Montreal and continued to study painting at Sir George Williams University and the Montreal Museum of Fine Arts and took up a job as a librarian at Alcan. In 1959, together with Aleksander Oleśko-Ferworn, she organised the first summer plein-air painting festival in Rawdon, becoming its permanent co-organiser. The tradition of plein-air painting in Rawdon survived thanks to Agopsowicz until 2008. From the late 1950s onwards, the artist participated in exhibitions and also helped to organise them. She was on the organising committee of the Polish Millennium Art Exhibition, organised in 1966 by the Canadian Polish Congress and the Polish Institute of Arts and Sciences in Montreal, at McGill University. On the occasion of EXPO 67, the painter exhibited two oil paintings in the Polish booth. In 1969, "On 5 July, an exhibition of paintings by the painter Daniela Agopsowicz opened in the salon of the YMCA in Montreal. The painter is most fond of painting flowers, using sharp colours, which she attributes to the influence of her stay in Mexico" ("Głos Polski").

In addition to flowers, the themes of Agopsowicz's works were landscape, city architecture, sacred and secular monuments. Travelling extensively, the artist recorded her impressions on paper everywhere, keeping a kind of painterly diary, which includes over 400 works: ink and charcoal drawings, pastels, watercolours (now in the private collection of the artist's family).

In 1972, an exhibition by Daniela Agopsowicz and Aleksander Oleśko-Freworn opened at the premises of the Union Nationale Francaise in Montreal. Agopsowicz showed 35 works:

"Flowers and nature dominated, a few abstracts, some hand-painted dresses by the artist. Pencil and ink works should also be highlighted" ("Głos Polski").

In 1978, on the occasion of the congress of the Canadian Polish Congress - Polonia of Tomorrow - a group exhibition of Polish artists was organised, in the centre of Montreal, on Place des Jardins - Agopsowicz showed three watercolours. In 1992, the Canadian-Polish Research Institute organised an exhibition of 70 Polish artists at Toronto City Hall, featuring the artist's work. Her last exhibition was a solo show at the Joliette Museum, in 1997, and featured watercolours from various periods of her work. Agopsowicz's painting comes from the school of realism, based on studies from nature and fidelity to detail. In her pastels and watercolours, most often depicting landscape and flowers, the artist referred to the colouristic achievements of Impressionism - a bright palette, a lot of light, a search for colour harmony. The ink drawings show precision, fidelity in depicting the environment and attention to detail. With her favourite subject - flowers - Agopsowicz allowed herself to play with colour and form, moving away from semi-abstract.

The artist was one of the founders of the Rawdon Art Circle, and was a social activist at the Centre d'Interpretation Multiethnique in Rawdon. Her works can be found in private collections in Canada, Mexico, Belgium, the United Kingdom, France and Poland (Emigration Archive at the Nicolaus Copernicus University in Toruń). The artist has received several awards for her contribution to artistic and social life.

Work in the catalogue
Agopsowicz, D., 'Flowers', 1973, pastel on brown paper, signed [D. Agopsowicz. 73], 38 x 52 cm, property of the artist's family (Marek Kwiatkowski, Montreal)
The work depicts exotic flowers, strelicias - birds of paradise, six 'heads' of flowers scattered on a brown background. Fidelity in rendering the shape and colours is combined with the artist's imagination, who has created a composition that is harmonious and expressive at the same time. The beaks of the flowers turn in different directions, the orange strongly accentuated vibrates, bringing to mind tongues of fire. Green, brown, purple and a trace of blue cool the sharpness of the orange. The absence of the vase and the overall representation of the flowers is evidence of the desire to use the shape of birds of paradise for free painterly interpretation.