1.0galerie artdepothttps://artdepot.co.at/en/birgit fraislhttps://artdepot.co.at/en/author/birgit/rich600338<blockquote class="wp-embedded-content" data-secret="JL2OlmkMzq"><a href="https://artdepot.co.at/en/kuenstler/sabina-knetlova/">SABINA KNETLOVÁ</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://artdepot.co.at/en/kuenstler/sabina-knetlova/embed/#?secret=JL2OlmkMzq" width="600" height="338" title="“SABINA KNETLOVÁ” — galerie artdepot" data-secret="JL2OlmkMzq" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://artdepot.co.at/wp-includes/js/wp-embed.min.js </script> https://artdepot.co.at/wp-content/uploads/2025/09/a63bfac1-f70c-4395-8ef9-53ffb4dccb54.jpg15541154knetlová’s sculptures are marked by an intuitive and uncompromising approach to material. she embraces concrete for its rawness and permanence, yet allows it to carry an unexpected sense of vulnerability. in her practice, material becomes gesture: clay modeling, concrete casting, and industrial fragments are transformed here into a series of concrete heads whose polychromed, anonymous faces and piercing eyes suggest both individuality and universality. they do not function as portraits of specific people but as open forms that absorb and reflect experience. these sculptures seem to register and internalize the diversity of the surrounding world, transforming it into reduced…