Art by Allyn
Art by Allyn
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  • Roosting Day
  • artwork
    • (oops all) paintings
    • large scale work
    • shadows
    • living upside-down
    • slug & spike
  • bio
  • exhibitions + media
  • support 💸
  • contact
  • More
    • home
    • Roosting Day
    • artwork
      • (oops all) paintings
      • large scale work
      • shadows
      • living upside-down
      • slug & spike
    • bio
    • exhibitions + media
    • support 💸
    • contact
  • home
  • Roosting Day
  • artwork
    • (oops all) paintings
    • large scale work
    • shadows
    • living upside-down
    • slug & spike
  • bio
  • exhibitions + media
  • support 💸
  • contact
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resist authoritarianism

look out for mutual aid opportunities locally <3
🚫🧊 know your rights & protect your neighbors (ILRC red card)🏳️‍🌈🏳️‍⚧️ mapping attacks on queer rights (ACLU)🇵🇸🕊️ Palestinian realities – highlighting journalist Bisan Owda

(oops all) paintings

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


exhibited:

  • Lonesome No More! Indiana University Process Gallery, Granfalloon 2026 statement
  • Oops, all paintings, Friendly Beasts Gallery, 2026

    large scale work

    Flying/roosting crows silhouetted against bright sunset and collaged skyline of Bloomington, Indiana

    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:

    • Roosting Day Community Exhibition, Monroe County Public Library, 2025

    Spiral of flowers and small critters in different styles, realism and black line-drawing like tattoo

    along the way • 2023 • acrylic on raw duck canvas, protected by clear garage floor mat (studio floor installation / temporary floor mural) • 14' x 7' (168" x 84")

    S H A D O W S // exploring nostalgias past & present, reflection, & lightplay

    Light projected in the shape of a serpent onto a dark wall and doorframe
    High-contrast, abstracted water ripples on a lake surface
    Cat looking out window at clouds, neighboring house, and crows in yard, framed by a dark curtain
    Shadow figure amidst gnarled shadowy limbs of a tree against grass
    Wine glass held against two guitars. Guitars cast shadows while the water inverts their reflections.
    Wide-eyed black cat with snaggletooth swatting (blurry) at shadow puppet that looks like a coyote
    black silhouette of Saint Basil's Cathedral and window blinds in bright square on black background
    Royal and elegant terns on a calm beach, casting shadows against the sand as they waddle and fly
    Butch and femme wives holding hands, walking on a sunny city street, dark shadows cast behind them
    3 matryoshka dolls casting shadows against each other, positioned large to small from left to right
    POV: hand holding a 60s photo of a woman with a beehive smoking a cigarette with spiraling smoke
    Broken fence with bolts and stains resembling anguished faces. Dog's shadow is seen through a hole
    Shadow of person taking selfie with leaves on top of their head like ears, cast against concrete
    Streetlight and telephone wires against cloudy sky with flying and roosting crows in bare trees
    Hand holding lit match against dark, ambiguous background. Flame slightly resembles a figure.
    Androgynous figure cast on textured ceiling with air vent and high contrast
    Upside-down puddle showing obscured reflection of the Monroe County Courthouse in an alleyway
    Face with shadows cast by large glasses, spiraling gauges, dark lipstick, and a toothy grimace
    Coot (bird with large feet) walking out of frame, casting a stark shadow against a textured ground
    Show More

    charcoal drawings on paper in thrifted, upcycled blue frames

    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

    Living upside-down 8 • March 2025 • iPhone 15 Pro digital photograph • Beanblossom Bottoms


    exhibited:

    • The Uncanny Exhibition, Indiana University Kokomo Art Gallery, 2025

      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.

      update coming soon – slugandspike.com for details
      artist shadow/reflection against log and stream with foot in foreground

      bio

      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.

      (ever-evolving) statement

      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

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      contact

      studio hours by appointment

      all work is for sale unless otherwise indicated

      & price lists are available upon request

      artbyallyn@gmail.com

      Bloomington, Indiana find me on StoryGraph @__allyn__ (let's read together)

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