Cretan Doors No. 13

Technique: Ink, watercolor, paper, 2016
Dimensions: 70x40 cm
€455.00

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More about this artwork

The painting illustrates an assortment of four rustic doors, each uniquely detailed and set in aged, textured frames. The top left door is adorned with chipped white paint and a dark wooden finish visible underneath; it's decorated with graffiti and Notice signs. Adjacent on the top right, the other door features intricate carvings and a heavy, rounded wooden structure surrounded by cracked stone and lush greenery creeping up the sides. The bottom left shows a more archaic door, possibly of a church, with an ornate arched frame displaying elaborate stone carvings and a black metal gate. Finally, the bottom right door is partly glass with a grid design overlaid, and a modern scooter parked beside it, suggesting a blend of old architecture and present-day life. Each doorway is distinctly labeled with names presumably identifying the locations depicted. The presentation is visually harmonious yet diverse, capturing the essence of historic and contemporary facets.

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Artist

Artist and architect Dalius Regelskis was born and grew up in Vilnius. For more than twenty years he has been designing private interiors, traveling and drawing urban architecture. As well Dalius is a professor at the Vilnius Academy of Arts.

In his youth, when the courtyard gates of Vilnius Old Town had not been locked, Dalius snooped every courtyard, knew a lot of “secret” passages, and loved to use them as shortcuts instead of walking down the main streets. He studied graphic arts at the Vilnius Art School, where his teacher was a famous Lithuanian graphic artist Petras Repšys. Later Dalius entered the Vilnius Academy of Arts and studied architecture.

Usually, he spends summers with his wife in Crete. This island – its architecture, historical heritage, Cretans and their cultural traditions – became the source of inspiration. The mantinades (traditional Cretan poetry) used in the drawings were written by a local Greek from a tiny village exclusively for these works.

Another topic is New York, a city of Dalius’ new impressions and creative discoveries. These works capture the contrasts of the architecture of this sleepless metropolis, the connecting element of which became a ONE WAY road sign.

As the author himself says: “ONE WAY – one path, one direction, one method... The whole of New York City is dotted with these American road signs. However, it is not just a road sign, it’s a symbol of one of life’s milestones, in which the clean, purified, black-and-white graphics emphasize that among many ways, paths and wrong roads, one must find one’s OWN WAY.”