Maiuri’s oil copies of found film stills and promotional photographs from Hollywood’s golden age make a perfect show for the postage stamp collector. Not only will her bijou paintings fit through the letterbox, they also come in a choice of bright colours that would readily set the first class stamp apart even in a busy collection. Women’s faces and objects lifted from black and white thrillers fill the frames to bursting. Stylised retro typography signals timeless nostalgia. These scenes are at once familiar and unplaceable, as though designed to appeal to all, yet grant the illusion of depth to the would-be connoisseur. For the philatelist on a budget, Maiuri even reprised her first day covers in miniature on unprimed and presumably cheaper canvas, effectively painting each image twice.
But seeing them once would be plenty. One can only imagine that some unconscious loathing of postmen or Hollywood motivated this project. Maiuri’s hatred of paint, on the other hand, is evident.