> ## Content Index > Fetch the complete content index at: https://www.catapult-platform.art/llms.txt > Use this file to discover other available public pages before exploring further. # Bety Krňanská: She Drives the Frame Now - URL: https://www.catapult-platform.art/bety-krnanska-she-drives-the-frame-now/ - Published: 2025-06-17T06:00:56.000Z - Updated: 2025-06-17T06:00:56.000Z - Description: Bety Krňanská turns car parts, lace, and leather into feminist sculpture that redefines control and softness - Author: Dominique Catherina Foertig - Tags: Featured ## **Bety Krňanská - From Grid to Grip: When Fabric Becomes Machine** [**Bety Krňanská**](https://www.oblogallery.com/interview-with-bety-krnanska?ref=catapult-platform.art) quilts with steel, frames chrome with thread, and lets softness haunt the hard shell of industry. ![Bety Krňanská sitting on a detached car seat sculpture in a white-walled gallery space, wearing crescent moon tights and heels, holding a metal object with a prosthetic hand resting on the seat behind her](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/bety-krnanska--artist-1.png) ****Bety Krňanská photographed in her installation at Alkinois Gallery**, seated on an isolated car seat sculptural element. 📷 Photo by Thanassis Gatos @thanassisgatos From her exhibition **I Want You to See It* at Alkinois Gallery **Permission and courtesy of the artist.* **Bety Krňanská’s** work—rooted in both domestic touch and mechanized force—reimagines sculpture as a confrontation between care and control. > "She doesn’t soften the machine. She rewires it." Based between Prague and Athens, her practice turns car parts into surfaces of tenderness, and lace into a weapon. This is not about opposing masculine forms—it’s about hacking them. ![Installation view of Bety Krňanská’s solo show 'I want you to see it' at Alkinois Gallery, featuring sculptural paintings and modified car parts](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/new-face-in-contemporary-art.webp) ****Installation views from Bety Krňanská’s solo exhibition “I want you to see it”** at Alkinois Gallery (@alkinois), Athens. Captured by photographer Thanassis Gatos (@thanassisgatos), with exhibition text by writer and curator Panos Giannikopoulos (@panosgnk). *Permission and courtesy of the artist.* ![Installation view of Bety Krňanská’s artwork 'Bloomers,' a sculptural car hood covered in intricate floral patterns and backlit with soft light, exhibited at George Benias Gallery in Athens](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/bety-krnanska.jpg) ****Bety Krňanská, “Bloomers”** Installation view from the group exhibition at ****George Benias Gallery**, Athens (GR). A laser-cut car hood transformed into an ornamental field of blooms—an automotive surface recoded with textile logic and floral excess. *Permission and courtesy of the artist.* ![Close-up of Bety Krňanská’s 'Bloomers,' showing finely etched metallic floral details on a blue car hood surface, blurring the line between decoration and material aggression](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/new-female-artists-now.jpg) ****Detail of “Bloomers” by Bety Krňanská** The floral motif etched into the hood’s surface reveals its dual nature—baroque ornament and industrial skin. Every line is both feminine flourish and mechanical wound. **Permission and courtesy of the artist.* ### Upcoming Shows: This year, Krňanská’s trajectory accelerates with several upcoming exhibitions. In Athens, she joins a powerful group show at [**George Benias Gallery**](https://www.georgebeniasgallery.com/?ref=catapult-platform.art), followed by her first **solo show** at the same venue—an anticipated deep dive into her sculptural-painting hybrids. ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/bety-krnanska--artist-2.jpg) ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/athens-art-scene-.jpg) ****Bety Krňanská at work: from spark to stitch** In this dual view, Krňanská is captured mid-process—engraving ornate patterns into a car hood using an angle grinder, and preparing meticulously cut textile fragments for her sculptural panels. The materials may differ—steel and satin—but the logic remains: repetition, precision, resistance. **Permission and courtesy of the artist.* ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/bety-krnanska--artist-3.webp) ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/george-benias-gallery-.webp) Bety Krňanská, on the hunt in Athens, studio view and working on her upcoming shows. permission and courtesy of the artist Back in Prague, she returns to [**SPOT Gallery**](https://www.spotgallery.cz/en?ref=catapult-platform.art) in another group presentation that brings her material language back to its roots: post-industrial, emotionally loaded, and culturally entangled. ## **Where Quilts Meet Car Parts: Krňanská’s Soft Resistance** In Bety Krňanská’s work, gender doesn’t just inform form—it collides with it. What once was patchwork is now panelwork. ![Gallery installation showing Krňanská’s sculptural works with lace-cut metal and car seat interventions at Alkinois Gallery](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/alkinois-gallery.webp) A body isn’t just present—it’s designed, controlled, remembered. ****Bety Krňanská’s exhibition “I want you to see it”** stages that friction through chrome, lace, and sculptural interruption. Exhibited at Alkinois Gallery in Athens, with text by Panos Giannikopoulos and photography by Thanassis Gatos. **Permission and courtesy of the artist.*[@thanassisgatos](https://www.instagram.com/thanassisgatos/?ref=catapult-platform.art) ![Installation view of a large abstract painting by Bety Krňanská, featuring swirling red and grey forms framed with geometric quilting motifs, shown at Galerie AMU in Prague](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/george-benias-gallery.webp) ****Bety Krňanská, installation view from “Unexpected Encounters”** Exhibited at @galerieamu and curated by Caroline Krzyszton (@carolinekrzyszton), this work expands Krňanská’s visual language through painterly abstraction, spiral repetition, and a border logic that mimics quilting while resisting closure. 📷 Photo by Tomáš Souček (@verdikt11) **Permission and courtesy of the artist.* Her recent pieces trade in chrome, rubber, leather, and steel—parts that speak fluently in the language of masculine-coded machinery—but she doesn’t borrow them, she reroutes them. Krňanská's practice has evolved into a sculptural grammar of resistance, where softness is neither retreat nor reaction, but recalibration. ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/gender-and-labor.webp) ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/post-feminist-identity.jpg) ****Bety Krňanská, works from “Unexpected Encounters”** Shown at Galerie AMU and curated by Caroline Krzyszton (@carolinekrzyszton), these two pieces—one sculptural, one painterly—highlight the full material arc of Krňanská’s practice. From backlit car hood to stitched-red abstraction, each work reveals gendered codes through surfaces of collision and control. 📷 Photos by Tomáš Souček (@verdikt11) **Permission and courtesy of the artist.* Originally grounded in quilted surfaces and textile logic, her current works adopt a strikingly assertive physicality: car bumpers dissected and pierced with lace-like patterning, leather car seats marked by metallic prosthetic hands, glowing hood ornaments cut into doilies of industrial trauma. ![Wide-angle view of Bety Krňanská’s Athens studio, showing multiple large paintings featuring cars and feminine motifs, with art supplies and sewing equipment scattered across the floor](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/bety-krnanska--artist-2.webp) A view into the heart of Krňanská’s visual engine. The floor is covered with tools, pigments, and protective textile layers—while large-format works line the walls, blending automotive imagery, high heels, and fragmented quilt borders. It’s not a workspace. It’s a system in assembly. *Permission and courtesy of the artist.* ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/female-artist-now-1.jpg) ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/contemporary-sculpture-now-1.jpg) ****Bety Krňanská** in her studio, quilting with steel and textile. On the wall: a repurposed car hood intricately cut and framed with rattan—a hybrid of utility, gendered objecthood, and ornament. Below, a hand-stitched modular panel ripples across the table like armor disguised as comfort. *Permission and courtesy of the artist.* This is no longer a quiet negotiation between care and critique—it’s a full-body hijack of cultural syntax. [GEORGE BENIAS GALLERY![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/icon/favicon-13.ico)GEORGE BENIAS GALLERY0![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/thumbnail/gb.jpg)](https://www.georgebeniasgallery.com/?ref=catapult-platform.art) In Krňanská’s installations, the domestic doesn’t disappear—it becomes dangerous. [Interview with Bety Krňanská on Oblo GalleryIn her interview with Oblo Gallery Magazine the artist considers her ways of creating, the cataclysmic translation of an objection to the abstract image and the role that tradition plays within a digitalized public.![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/icon/059cb2_a4a4519d50754f509b993596d864dd41-mv2-1.png)Oblo Gallery![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/thumbnail/059cb2_b15d466cb5d8410ea5fd4cd76f2f82fc-mv2-1.jpg)](https://www.oblogallery.com/interview-with-bety-krnanska?ref=catapult-platform.art) Interview with ****Bety Krňanská** \- Oblo Gallery The quilt motif remains, but it now frames images of high heels in driver seats, fractured chrome, tire patterns, and gloved limbs suspended in space. Her stitching gestures persist, but in steel. ![Exhibition view with sculptural objects and painted car components in a minimal gallery setting, solo show by Bety Krňanská](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/athens-art-now.webp) **I want you to see it* – Bety Krňanská’s solo show at @alkinois 📸: @thanassisgatos | ✍️: text by @panosgnk Industrial femininity, auto-body rituals, and stitched tension on full display. **Courtesy of the artist.*[@thanassisgatos](https://www.instagram.com/thanassisgatos/?ref=catapult-platform.art) ![Installation view of Bety Krňanská’s solo show at Alkinois Gallery, featuring sculptural elements like car parts and textile-framed paintings in a raw white cube setting](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/alkinos-gallery--athens-1.jpg) ****“I want you to see it”** is not just an exhibition—it’s a directive. In her solo show at Alkinois Gallery, ****Bety Krňanská** stages a sculptural anatomy of power, intimacy, and engineered control. Documented by photographer ****Thanassis Gatos** and accompanied by a text from ****Panos Giannikopoulos**, the show places the viewer inside a choreography of touch, torque, and textile tension. **Permission and courtesy of the artist.* The feminine, in her hands, isn’t contrasted with the masculine—it parasitizes it, reconfigures its grip. What emerges is a new vocabulary of power: one that neither confirms nor denies the gendered objects it co-opts, but forces them into implosion. ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/female-artist.jpg) ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/artist-to-watch.jpg) Exhibition titled I want You to See it. atAlkinois Gallery,Athens. [@alkinois](https://www.instagram.com/alkinois/?ref=catapult-platform.art) Text by Panos Giannikopoulos [@panosgnk](https://www.instagram.com/panosgnk/?ref=catapult-platform.art) Photo credits Thanassis Gatos [@thanassisgatos](https://www.instagram.com/thanassisgatos/?ref=catapult-platform.art) I Want You to See It. A command, a tease, a dare. The voice behind it lingers—untraceable but insistent. The phrase unfurls like a late-night whisper, part libidinal impulse, part glitching ad algorithm tuned to urgency and want. But what, exactly, should be seen? The body or its engineering? The moment desire flickers between the two? Bety Krnanská constructs paintings that hold this tension, stretching and fraying at the edges of seduction and automation, forcing the act of looking into something slower, stranger, more precarious... Installation Views: 1.”In your hands” & “Scrunchie” aluminum casted objects, leather eletric Mercedes car seat 2\. “What Does It Mean?” 135x190cm - Permission and courtesy of the artist A stoic leather car seat becomes an altar. A bumper, a tapestry. Her motifs create a spatial syntax of tension—what belongs where, who drives what, and what softness survives impact. While others ask about AI and the digital as disembodied futures, Krňanská insists on a very physical question: *Who gets to touch what?* Her sculptures are about access, interface, and surface—as sensual as they are institutional. There’s no illusion of neutrality here. Even the gesture of quilting has teeth. ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/new-faces-in-contemporary-art-1.jpg) ****Bety Krňanská,** ***See What I Wanna See** 135 × 190 cm Detail : Photo by [@thanassisgatos](https://www.instagram.com/thanassisgatos/?ref=catapult-platform.art) ![](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/bey-krnanska-artwork.jpg) ****Bety Krňanská,** ***See What I Wanna See** 135 × 190 cm, 2025 From the solo exhibition **I Want You To See It* at Alkinois Gallery (@alkinois), Athens. A multi-layered work of textile logic and image friction, the piece merges painted detail, fragmented visual codes, and Krňanská’s signature border grammar. Text by Panos Giannikopoulos (@panosgnk) 📷 Photo by Thanassis Gatos (@thanassisgatos) **Permission and courtesy of the artist.* Her practice, located between Athens and Prague, balances rawness and calculation. There’s a poetics of visibility at play—not just in what is shown, but what is encased, padded, or shielded. The viewer isn’t only looking *at* materials; they’re implicated in the infrastructure of their meaning. Krňanská’s installations don’t decorate—they stage. --- ### Key Themes - Gendered labor and material symbolism - Industrial vs. domestic visual codes - Post-feminist identity and fragmentation - Surveillance of touch and control - Sculptural painting as visual hijack ### Notable Series / Visual Motifs - Sculptural bumpers with lace-cut overlays and LED backlighting - Car seats with metal hands referencing prosthetics and grip - Large-format paintings framed with stitched geometric textile borders - Hybrid works combining car imagery, footwear, and fragmented body parts - Quilted panels as both cushion and cage ## Positioning in Contemporary Art Krňanská belongs to a cohort of artists dismantling the gender binary of materials: the false softness of craft, the assumed hardness of metal. Her work resonates with artists like Mika Rottenberg, Magali Reus, and Jana Euler—not in form, but in **intervention**. ![Framed painting by Bety Krňanská titled 'Better Together,' showing two hands in silhouette over a red background with swirling white motifs, bordered by a geometric quilted black-and-white textile frame](https://storage.ghost.io/c/1c/24/1c2478ff-417d-4e88-8226-288af467f6b9/content/images/2025/06/best-new-art-from-greece.jpg) ****Bety Krňanská,** ***Better Together** Exhibited as part of her solo show **Unexpected Encounters* at Galerie AMU, Prague. Curated by Caroline Krzyszton (@carolinekrzyszton), the work combines photographic layering, spiral motifs, and Krňanská’s signature textile-border construction—suggesting intimacy and circuitry in one frame. 📷 Photo by Tomáš Souček (@verdikt11) **Permission and courtesy of the artist.* She doesn’t aestheticize feminist thought. She materializes its contradictions. Her art is not a metaphor—it’s a chassis. --- [**Follow Bety Krňanská on Instagram.** ](https://www.instagram.com/betykrnanska/?ref=catapult-platform.art) [**Alkinois Gallery Athens on Instagram**](https://www.instagram.com/alkinois/?ref=catapult-platform.art) ---