When Merasty was learning the art of birch bark biting, at first, she imagined each element of the design in a step-by-step process as she was creating it, stopping periodically to assess her progress. As she gained more experience, she was able to visualize the entire image before biting into the bark, pausing only after completing the entire design. Merasty's early imagery reflects the symmetrical and geometrical works popular at that time in the early 1900s. Later, she developed a highly personal style that included floral variations, as well as zoomorphic images such as insects, butterflies, hummingbirds, fish, rabbits, owls, ants, beavers and mice. Her precision and creativity produced continuous and curvilinear perforations in works that ranged in size from miniature three-inch squares to strips that measure fourteen by 10 inches. Often, Merasty applied her bark bitings as a decorative element to the outside of bark containers.

The Paper Birch, also known as the Canoe, White or Silver Birch, was used extensively by Algonquian, Cree and Ojibwa peoples for art, utilitarian and religious purposes. Midiwewin scrolls were pictographic-style records in birchbark, thinly inscribed using the points of deer antlers and sewn together. As memory aids for religious beliefs, the scrolls were never revealed to non-Natives. In the 1950s and 1960s, artists in northern Ontario, influenced by Norval Morrisseau, developed their own iconography from these images and stories. More recently, First Nations artists from northern Ontario and Manitoba continue to use the bark as canvases for their paintings.

Selection and preparation of the bark requires much effort. Birch trees are chosen in the spring when the thawing bark is supple enough to retain indentations. The bark must be knot-free with thin layers, making the bark easier to peel. The best bark will have up to ten layers, and usually five or six of these are suitable for biting.

"Transparencies" are made by biting into intricately folded sheets of specially prepared birch bark. A thin white piece of bark is selected according to the prerequisites of the proposed design. The bark is then folded in half and then in half again. Particular folds are made for different designs, much like for papercuts. Guiding the bark with her fingers, the artist bites along the folds, sometimes changing the intensity of the bite to produce different shadings. This process is repeated depending on the size or detail of the design. Pin-like perforations constitute the design while the surface of the bark forms a textured background. A bark "transparency" is complete only when held up to the sun so that the bark warms to a golden hue and the hundreds of perforations are infused with light.

Angelique Merasty was recognized and respected as a senior artist working in this medium. She continues to be a source of inspiration for a younger generation of artists in northern Saskatchewan and Manitoba.