Cretan Door No. 16, Chania

Technique: Ink, watercolor, paper, 2016
Dimensions: 70x40 cm
€518.00

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More about this artwork

The painting depicts an ornate door framed by a lavish stone archway, adorned with intricate carvings and details that speak of age and craftsmanship. The door itself is dark, possibly made of aged wood, contrasting sharply against the lighter, textured stone of the arch. Above the door, a semicircular transom window lets in light, divided into panes and framed by the same richly decorated stonework. Each corner of the entryway features what appears to be mounted lanterns, adding to the antique feel of the scene. At the bottom of the painting, there’s Greek text, suggesting a setting or theme connected to Greek culture, specifically noting Chania, Crete. The artwork prominently features warm, earthy tones, with splashes of dark ink that give depth to the textures, making the architectural elements almost pop out from the canvas.

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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.”