Michalis Manousakis paints a solitary figure in its ongoing anguished quest for a lost paradise. Sometimes she leaps over enigmatic openings or suspended staircases, other times she is bent over, searching in a barren field or bizarre wells. Elsewhere, as in his most recent work, she is seated yet blind before a contemporary urban construction, seeking the routes to lead her back to the `familiar` Prehistoric times, to the `hearth` of Classical times, to the `temple` of Christian times. With minimal formal means, unaffected drawing like that of the Geometric period, economy of color, and an exploitation of the wood painting surface, Manousakis records the journey back to the homeland. He observes the efforts of the contemporary person to return to the security of the dark, primal womb, to a refuge in spaces invulnerable to the hostile world around her.