Manolis Baboussis was born in Athens in 1950. In 1975, he completed his studies at the Architectural School of Florence and continued further at the International Centre of Conservation of Cultural Inheritance, in Rome, on a UNESCO scholarship. Since 1977, he has divided his time between photography and architecture. In 1998, he is elected assistant professor at ASKT (Superior School of Fine Arts). He lives and works in Athens. In the early '70s, Baboussis starts using photography, initially as an instrument of verification and recording of reactions, which he realizes as a member of a musical group by visiting mental clinics in Italy, within the context of F. Basaglia's school of Anti-psychiatry. After that, he creates a unit of photographic works, depicting the empty interiors. In the '80s, he continues to picture empty interiors, both public and private, while he is simultaneously interested in the landscape. In the '90s, the artist turns his interest to Monuments, the "small" architecture and the promotion of poetry of yet unformed places of the Athens urban landscape. During the same decade, he creates another unit of works, by photographing ATMs (Automatic Cash Machines) and from 2000, spaces and closed containers of bank safety deposit boxes and archives. Manolis Baboussis uses the medium of photography in order to develop - in daylight or night luminosity - the poetic dimension of a "world" the artist himself creates, which is often empty of human presence but plentiful of life traces. In both his colour and black-and-white pictures which are exhibited, the diverse themes Baboussis has been developing during his artistic career meet and cross. In the exhibited works, the artist negotiates patterns and senses such as the labyrinth, opening and closure of space, control and cul-de-sac, the union of violent forces and beauty, death, gaze, detachment, all turning his association with objects in images of contemplation. The exhibition aims at a dialectic presentation of the works, based not only in the chronological or thematic similarity but mainly plastic, the connection of the internal structure of each picture with the neighbouring one: from the early '70s the personal gaze of the artist becomes more than evident.