Steven Parrino was born in 1958 in New York and deceased on a road from Brooklyn, on January 1, 2005…
“Steven Parrino has and enjoys the chaos which it founds in its works. Most of its work is centered on the exploitation of painting monochromic - often black or money - the fabric is put in shift with its frame-tallies to be ruffled. As the bad lot who does not make his bed, it is turned over against painting and the fabric to laugh to him with the nose and to torture it, fold it, tear it. It is the sacring of the deformalism: “This mutant form of deformalized painting gave me, said Parrino, opportunity of speaking about reality through abstracted painting, of speaking about the life” by its chaos, its entropy. To be nihilist if that is an engine with high intensity. “I want to Be profoundly touched by art, by life. I cam to painting At the time off its death, not to breathe its last breath, goal to caress its lifelessness.”
Parrino Zombie-Heroes. The monochromic one was already there (a priori), Parrino makes it appear. The materiality of the foldings - evoking cloths, clothing, shrouds, trace of crash landing - is confronted with the flatness of the table making it possible to seize a dislocation between direction and contents. The history of monochromic is based on the idea that painting leads only to painting, therefore with its own finality. Parrino is useful, according to its own terms, of this corpse to make known to him a new material identity: it balances between a modernistic and post-modernistic speech. The monochromic one is not any more the end of painting - or its beginning - but a tool, an instrument like the brush or the bomb which are used to cover the fabrics of their pageantry. It is in a post-productive reflexion that Parrino acts on the monochromic one because it uses it like a product already charged to offer to him the freedom of a new territory, like seeking Zombie of new energy potentials.
The exploitation of the fabric like flexible matter, enables him to seize the entropic dynamics of its contents. The artist is the kamikaze of an attack directed towards painting (for its monochromy) the fabric (for its flatness) and the sculpture (for its imposing presence, its rigidity). It is in a highly romantic dash that the artist plays of the excess brought to the fabric - excess of the blisters and too much fabric, of in-more painting -, of its exaltation of a nonhazardous passion but striking down; the foldings become figures of the rebellion against the authority of painting. The fabric exhausted to lie on a frame.
Covered by a coat of brilliant paint, it is made processing site of the light convening space as atmospheric place where all that is fixed gives the impression simply to vibrate and grate. It is in this romantic posture of the exhaustion of the passion of the fabric that Parrino is agitated in a frantic way on its becoming. As in the culture rock'n'roll, art must be lived and be incarnated; it makes it possible to amplify the power of the body, producing an ethics of the incarnation, evoking the dramaturgy and the dynamism of the performatif exploit (and musical). “
Timothée Chaillou, exrait of “Scream Fresh”, in BACK Arts and letters, n° 42 (July 2006)
*with apologies to Timothée