Product Description Monograph of artist’s solo show: Eaves March 29- May3, 2025 Gallery 12.26 150 Manufacturing St. #205 Dallas, Texas 75207 Installation images by Diego Flores Eaves highlightsexterior architectures, intimate interiors, and the human figure depicted in film. Maiuris paintings are unmistakably her ownlayered, atmospheric, and evocative. Drawing on cinematic techniques like dissolves and mind screens, she captures the passage of time, subtle movements, and moments of introspection, allowing figures to slip between reality and reverie. Here, architecture becomes a parallel to film. The eaves of a housethe overhanging edges of a roofoffer shelter, much like cinema provides a space for projection and self-reflection. Maiuri returns, in dreams, to the homes of her past, only to find them unfamiliar, transformed. She, too, is differentolder now. This uncanny sensation lingers in works like New House and Lying Down , where ghostly figures recede into the background while a translucent female head remains alert yet at rest in the foreground. These characters, like Maiuri herself, return home only to find both place and self irreversibly changed. Considering the figure as architecture, Maiuri extends this interplay between figure and structure throughout the series. Some characters appear to merge with their surroundings: a colossal nude form leans against the pitch of a roof in Next o Kin , and a nose effortlessly transforms into a spire in Three Houses ; facial contours outline the profile of homes in Marians Eave , Tower , High Eaves , and Lying Down. Film is a constant presence in Maiuris work. For Eaves , she draws from an array of movies spanning the 1950s to the 1980s. Walkthrough layers stills from Manhunter (1986), while Three Houses interweaves moments from Inferno (1980), Badlands (1973), and Summer with Monika (1953), creating compositions that feel at once fragmented and whole. These cinematic references deepen the narrative of her paintings, expanding the interior lives of their subjects.