My impression of Greece in 2008 was of a beautiful ancient country with a troubled political past, and insecure economic present. The paintings capture modern-day Greece—and, in many ways, a universal humanity—in all its vividness and complexity. The works, at once kinetic and peaceful, are full of light and water and life. But an undertow of sadness, loss and impending chaos tugs just below the surface. Or, in a work like the metaphorically apt Samothraki II, a broken chair lying amid a lush landscape, a sense of ruin is right there on the surface, the trammel of history already visible amid the timelessness of lived life.