It seems inevitable that the resurgence of interest in figurative painting by young artists will stimulate a drive to identify senior figures as a source of historical context. While this will probably entail a second look at some of the neo-expressionist stars of the early ’80s, one can only hope that the trend will also generate interest in some of the less modish but more substantial painters who have been working under the radar since then. If so, Greek painter Apostolos Georgiou, whose career stretches back more than two decades but who has not until now had a solo show outside his home