Ismini Bonatsou is in a continuing dialogue with the past. She knits a magical and fantastic world that includes folk, symbolic and surrealistic elements assimilated from various styles and techniques. In her world of fables the protagonists are children and women, alone or in pairs, coexisting harmoniously in a microcosm of fruition. Her figures are charged with symbols, which are not immediately decipherable. Less than perfect, these are creatures gifted with minor humanizing defects that exorcise any sense of false idealization. In most cases the figures are depicted schematized and monumental, charged from within, their eyes reminiscent of the Fayum portaits. They are trapped in time and unreal spaces, without perspective, and remain strangers to their surroundings. Her cool flat colours of psychological stress and symbolic meaning seldom betray light. Ismini Bonatsou can narrate her stories with equal ease on both Lilliputian and large scale canvases, proving her ability to convert a simple painterly surface into a memory map. In the footsteps of Marc Chagall, consciously or unconsciously, she isolates her innermost personal experiences and her emblematic dreams and connects them to sequential images of childhood naivety.