Memento Mori

On The Road With The Last God / Sulla strada con l’ultimo Dio (Memento Mori) 1982-2012
Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori), 1982- 2012
<em>Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori) 1982-2012 (I)</em>
Having Danced on a Volcano / Dopo aver ballato su un vulcano (Memento Mori) 1982-2012 (II)
Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori) 1982-2012 (II)
<em>Having Danced on a Volcano / Dopo aver ballato su un vulcano (Memento Mori) 1982-2012 (I)</em>
It Seemed Like Any Other Evening / Sembrava una serata come tante (Memento Mori) 1992-2012
<em>Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori), 1982- 2012</em>
Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori), 1982- 2012

On The Road With The Last God / Sulla strada con l’ultimo Dio (Memento Mori) 1982-2012

Décollage with artist's archival images, ceramic on wood panel
20 x 30 in.

Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori), 1982- 2012

Street installation at Market and Noe, San Francisco, Feb. 21, 2012

Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori) 1982-2012 (I)

Décollage with artist's archival images, ceramic on wood panel
20 x 30 in.

Having Danced on a Volcano / Dopo aver ballato su un vulcano (Memento Mori) 1982-2012 (II)

Décollage with artist's archival images, ceramic on wood panel
20 x 30 in.

Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori) 1982-2012 (II)

Décollage with artist's archival images, ceramic on wood panel
20 x 30 in.

Having Danced on a Volcano / Dopo aver ballato su un vulcano (Memento Mori) 1982-2012 (I)

Décollage with artist's archival image, ceramic on wood panel
20 x 30 in.

It Seemed Like Any Other Evening / Sembrava una serata come tante (Memento Mori) 1992-2012

Décollage with artist's archival image, ceramic on wood panel
20 x 30 in.

Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori), 1982- 2012

Installed at 18th and Castro, Feb. 20, 2012

Someone to Watch Over Me / Qualcono a vegliare su di me (Memento Mori), 1982- 2012

Installed at Castro & 18th, Feb. 21, 2012

Respice post te! Hominem te esse memento! Memento mori! / Look behind you! Remember that you are but a man! Remember that you’ll die!

The series Memento Mori approaches the modern gay era as timeless epic. Dallabrida uses a sculptor’s hand to layer generations, memories, street imagery and ceramic onto wood panel. These works weave his investigations into neo-medieval philosophy and influences of 20th-century Italian art with thirty-five years of queer and AIDS community activism.

Dallabrida appropriates the contemporary street advertising of queer dances, parties, bars and sex clubs. He layers these offerings of camp, beef, play and seduction over a substrata of unfired porcelain and pigment. He then shrouds these panels with personal photographs from iconic 1980s gay male gatherings. These tender portraits of an earlier time offer an avid juxtaposition with the uber-urban homo reality of today. Violently, Dallabrida tears back through the layers to reveal a riveting queer gaze/gayz.

Epic time is not a linear construction. It is experienced as cycles of events that lay upon each other like stacks of parchment. Each parchment is a palimpsest from which older text had been scraped so as to be used again. The past, as part of the present, is never completely covered.

Dallabrida’s exhibition, as well as his street installations throughout the Castro, spans decades of gay history to present artifacts that provoke the telling of stories. He looks across and into the generational chasm carved by the AIDS crisis years (1985-1997). The intimate images from the artist’s personal archives capture friends and lovers, faeries and jocks in moments of intense, reflective observation. Deities and demigods, those depicted include both survivors and the fallen. And yet these past figures appear as contemporary as today’s young queer scruffs and jocks.

When we hold onto the passage of time in a linear sense, we can be distracted from observation. We miss each other. Layering time allows us to see more commonalities than differences. Both sides can be valued. Both Now and Then are necessary for the definition of the present.