Minimalism, the Avant-garde and a fascination with Pop iconography are at the origin of Parrino’s work. Executed in 1987, Squeaky Fromme shows clear signs of all these elements. Composed of a bold geometric shape, this monochrome painting creates an optical interplay with the negative space. Unlike the practice of his 'misshaped paintings', where he consistently and aggressively tore, slashed or detached canvas from stretchers in order to achieve a literal deconstruction of the painting, Squeaky Fromme is completely flat. A deliberate action taken by the artist that questions and redefines the traditional materials and forms used in fine arts, and further serves as an homage to Donald Judd’s critique of flat and rectangular paintings.

Parrino’s passion for subversive counter culture is additionally reflected in the title of this work, referencing Lynette “Squeaky” Fromme, one of the members of the Manson family sentenced for attempting to assassinate US President Gerald Ford in 1975. Squeaky Fromme equally alludes to some of the industrial and mechanical processes utilized by the artist: such as cutting, folding and creating slots on the canvas. The profound nature of Parrino’s practice is perceived at first sight, to emanate from his commitment to the notion that ‘radicalism comes from content and not necessarily form’ (Gagosian Gallery, Steven Parrino, www.gagosian.com).