spill • 2019-2025 • acrylic on stretched canvas, framed • 16" x 20"
exhibited:

long live the Roost (no kings nor oligarchs; to roost is to build collaborative communities in resistance to authoritarianism) • 2023-2025 • acrylic on stretched canvas • 4.5' x 8' (54" x 96")
exhibited:
a bygone era wherein we yearned for a bygone era • 2022-2026 • video loop played on a 5" portable television (Action ACN-3501, circa 2001)
shadows represents both a series of charcoal drawings and the beginnings of a more ambitious writing project. I began the series on impulse in response to learning of "tempusur," a term introduced by Amanda Montell (The Age of Magical Overthinking, 2024) in response to John Koenig's naming of unnamed emotions in The Dictionary of Obscure Sorrows (2021). Tempusur, derived from the Latin words tempus and susurrus to mean "time whisper," rests under the nostalgia umbrella, referring to the pang we experience upon noticing that a moment is slipping away in real time. Tempusur occurs as we acknowledge that our experience is temporary – an "elusive" nostalgia for the present, or however we perceive the present to exist in a wider context.
The relationship between light and time is self-evident. Light, like time, is fleeting. But as I began to reflect on the significance of shadows, I realized (or remembered) that shadows and reflections have been partners in metaphor for millennia. Both ask us to examine ourselves, as taught by countless artists and writers, Jungian psychologists (if you prefer science), and scrying practitioners (if you prefer ancient divination/contemporary occultism). In considering the nostalgia piece, per a relationship between shadows and the past, I found myself inundated with complex questions navigating the tensions between memory and history, fear and awe, narcissism and empathy – all of which reveal rabbit holes addressing spirituality, identity, belonging, legacy, and what it means to be human at all. Easy stuff...
In pursuing a statement for this show, I launched a series of musings – short thought pieces and ekphrastic writings – to share some of the thinking behind my ongoing shadows work. This series functions largely as memoir, offering a glimpse into my own search for meaning in this dark, dark world. It is also simply about the way light touches everyday moments; I'm enthralled, enraptured even, by the playful nature of light as it casts shadows and reflections that may or may not exist in the same way again. Every piece in this series captures a snippet of once-was tempusur, sometimes distorted or idealized in memory.
Living upside-down 8 • March 2025 • iPhone 15 Pro digital photograph • Beanblossom Bottoms
exhibited:
I am no serious photographer, though I am a whimsical observer (and observer of the whimsy). I'm tethered to a tiny computer and like to play around. That's good enough for me.

Allyn J. Boley grew up in San Diego, California, where they earned bachelor’s degrees in studio art and psychology from San Diego State University. After pursuing various creative projects throughout the San Francisco Bay Area and Portland, Oregon, Allyn moved to Indiana during the summer of 2020. They established their Bloomington studio in May of 2023 and received funding from the City of Bloomington Arts Commission to support their practice in 2024 and 2025. Though primarily a painter, Allyn explores ideas in a variety of media, opposing the use of generative A.I.
Artmaking is not a static endeavor. Why should my statement be carved in stone?
My work oscillates between realism and symbolism, optimism and pessimism, and some combination of it all. Meticulous observation is important to me, and I realize my obsession with detail is a prevailing constant as I tend to different subjects. Time spent keenly looking and learning, especially outdoors, is the basis of my process. I'm endlessly attracted to little critters, textures, contrasts – all the decay and growth found in the wild as well as mundane places like the Kroger parking lot. (I'm interested in efforts to obscure anthropocentric thinking altogether; ask me about the wilderness of my tiny, concrete patio or area beneath the stairwell.) I value slowing down, dedicating spaces to recharge so that we may remain attentive to our communities and committed to deconstructing unjust structures of power. (Billionaires and their politicians cannot save us. We Must Save Us.) Therefore, I approach artmaking both as an opportunity to appreciate quaint or amusing moments, and as a space to confront patterns – literal and figurative, internal and external – and complexities that may speak to something more universally human.
That said, my work is about me, often functioning as visual memoir. Though I do enjoy making portraits, I don't claim to represent anyone else's experience. I arrange memories and musings from a vast personal archive into imagined spaces to make painted collages (sometimes calling the more bizarre or emotional landscapes “moodscapes”), while using my own photographs for reference as often as possible. And I prefer group shows to solo shows; art is most beautiful to me when different perspectives, interpretations, disciplines, and media engage with one another.
collaboration > competition
all work is for sale unless otherwise indicated
& price lists are available upon request
Bloomington, Indiana find me on StoryGraph @__allyn__ (let's read together)
copyright © 2026 Art by Allyn - all rights reserved