Artwork in the room
Dalius Regelskis, an accomplished artist and architect, was born and raised in Vilnius, Lithuania. Over the course of more than twenty years, he has devoted his career to designing private interiors, traveling, and depicting urban architecture in his artworks. Alongside his creative endeavors, Dalius holds a professorship at the Vilnius Academy of Arts, where he imparts his knowledge and enthusiasm to students.
As a young man, Dalius was captivated by the hidden corners of Vilnius Old Town. In those days, with courtyard gates still open, he would explore every courtyard and uncover secret passages, often choosing these shortcuts over the main streets. His artistic journey began at the Vilnius Art School, where he studied graphic arts under the supervision of the celebrated Lithuanian graphic artist Petras Repšys. He later pursued further studies at the Vilnius Academy of Arts, specializing in architecture.
Each summer, Dalius travels to Crete with his wife, drawing inspiration from the island’s extraordinary architecture, rich historical legacy, and the lively character of local culture. The customs and people of Crete have left their mark on his work, with some pieces accompanied by mantinades—traditional Cretan poems—specially composed for his drawings by a local Greek from a nearby village.
New York City serves as another major source of inspiration for Dalius, offering him fresh experiences and creative insights. In his representations of New York, he delves into the city’s architectural contrasts, unified by the recurring image of the ONE WAY road sign. According to the artist, this sign goes beyond its functional meaning and instead serves as a personal symbol, representing the pursuit of an individual life path—a theme highlighted by his unique black-and-white graphic technique.
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.
