Emanuele Gregolin is a contemporary artist who excels in transforming personal memory and emotional experience into a powerful and refined visual language. His works deeply reflect his life journey and personal growth with architecture serving as the backbone of his artistic narrative. During his training architecture exerted a decisive influence leading him to develop a unique pictorial grammar both in the representation of interiors and in the depiction of external architectural structures. In particular the city of Milan — the artist’s birthplace and current residence — frequently appears in his work as an identity- and affection-laden point of reference.
In his architectural-themed compositions the use of color takes on a highly symbolic value. Orange a distinctive hue in his chromatic vocabulary imparts warmth and emotional intensity to urban spaces often built of concrete and steel. This chromatic choice infuses the composition with mystery and visual tension prompting the viewer to question the perceptual filter through which the artist reinterprets and reconstructs everyday space.
However architecture is not the sole subject of Gregolin’s investigation. The artist also turns his gaze toward domestic space and the objects that inhabit it transporting the architectural macrocosm into an intimate and narrative microcosm. A precise example of this is the cycle of paintings dedicated to the Vittoriale degli Italiani spanning from 2007 to 2025. His works are conceived as immersive journeys tailored for each viewer: suspended chandeliers paintings hung on walls oriental relics — such as the qilin a symbol of good fortune — placed beside fireplaces are all elements that contribute to the construction of a pictorial setting imbued with meaning. In this context Gregolin is not merely a painter who tells stories through images but also a designer of space translating emotions into visual configurations.
Many of these details draw inspiration from a place deeply significant to the artist: the Vittoriale degli Italiani. This space steeped in historical memory and symbolism left an indelible mark on Gregolin a sentiment shared by many visitors to the site. His works evoke the atmospheres of the Vittoriale (which he first visited at the age of ten) like familiar melodies resurfacing in memory. The artist attempts to condense complex emotions within the boundaries of the pictorial surface. Musical scores often hidden within his paintings symbolize unique melodies for each memory: sometimes sweet and melancholic sometimes vigorous and dynamic. These notes drift between artist and viewer animating the evoked spaces like an echo in the mind.
The relationship between space and the human being is another constant in Gregolin’s poetics. He does not conceive of space as an autonomous or abstract entity but interprets it as something that acquires meaning only through its relationship with humankind. This vision strongly resonates with Eastern philosophy particularly with the thought of Zhuangzi who stated: “Heaven and earth were born with me and all things and I are one.” This principle of unity between man nature and space is perfectly embodied in his paintings. Human figures are harmoniously integrated into the spatial and chromatic context becoming an integral part of the emotional landscape depicted.
Observing Gregolin’s works one is struck by the richness of detail which testifies not only to his technical mastery but also to an authentic passion for everyday life and for the hidden beauty of simple things. His works can be read like books that never tire: fragments of memory that finally find a home suspended emotions that rediscover a place to rest within the narrative that the viewer can listen to — a narrative dedicated to the Vittoriale degli Italiani.
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