Artist Statement and Bio - An Elucidation Regarding Considerations and Approach
I once happened upon a child’s drawing done in crayon on a table in the back of the Bedlam theater. The drawing was both crude and elegant all at once. It depicted two stick figures having a conversation, with one asking the other, “What is the meaning of life?” and the other replying, “Doing things.” The same could be said for the creative process; its meaning is inherent in the act itself.
I am a moving image film and video artist and my work has received grant support through the Arrowhead Regional Arts Council. Through my work, I’m exploring coexistence in many forms—individual and collective, social and political, life and death. Situated as we are within a world of existential crises, looming climate catastrophe, and economic oppression; the creative investigation of existence takes on significant cultural urgency. I’m interested in moving image arts as an aesthetic means to reorient our senses, prying our minds loose from the grip of everyday distractions.
Allen Killian-Moore was born under a half moon in the fall of 1981. After leaving home, he spent his young adult life as an itinerant artist-activist, taking up residence beneath a staircase, in a van, on a screened porch, in a moldy basement, and behind a sofa, among other unsavory spaces. Following more than a decade of rambling, he eventually landed on the icy edge of Lake Superior in Duluth, Minnesota, and put down some roots. Allen Killian-Moore is a moving image film and video artist, writer, curator, and performer. His work explores coexistence in many forms—individual and collective, social and political, life and death. Allen’s moving image work has been praised for its reflective quality and raw poignance, with critic Stephanie Burke for Art Talk Chicago describing Allen’s video installation, Body Tempest, as “Physically much more than I expected… Killian-Moore enshrouded the projection in a hobo circus-revival tent, blood red and ominous. The tomb-circus-house blur all served to heighten the impact of watching such a tragic event unfold through the filter of a single repetitive act, the pulling and contemplation of hair.” In the fall of 2018, Allen will be artist in residence at the North Dakota Museum of Art, and he was awarded a grant to attend a workshop by film artist Robert Schaller at the Handmade Film Institute on Orcas Island.
Allen’s film and video work has has received grant support through the Arrowhead Regional Arts Council, and his work has been exhibited in solo and group exhibitions at a wide variety of venues, including the Joseph Nease Gallery, Hennepin Theater Trust’s Made Here show in Minneapolis, the Duluth Art Institute, and Fill In The Blank Gallery in Chicago. Allen’s moving image work has also been featured in the annual Chautauqua Art Lab in Saint Louis, and his work screened nationally on the viewer curated Current TV network. In addition, Allen is the curator for Duluth's avant-garde micro-cinema film series, the Saltless Sea Cinema.
Allen’s essays and poetry have been published in Boneshaker Almanac, Geez Magazine, Aqueous Magazine, and Whole Beast Rag, among others. In 2017, Portland based Microcosm Publishing released Allen’s ode to a worker co-op, Owning The Means of Production, and he was a writer in residence at the Cyberpunk Apocalypse Writers’ Project in Pittsburgh in 2013. His first book of collected poems was published in November 2016 on Dauntless Supply Company press. The collection was described by Whole Beast Rag publisher Katherine Hargreaves as, “The work of peeling back the fur; for now we must confront the animal inside, there are no easy truths here - that is not the point… At their core, Allen’s words ask that you abandon what is old in order to realize your necessary form.”
Allen’s music performance project, Agassiz Oscillation Ensemble, recorded an album titled Workplace Democracy which combines furtive musical landscapes with spoken word performance pieces. In 2015, the album was picked up and released by Chicago based 1980 Records. Foreign Accents Music Journal described the album as “Confident, freely-flowing sonic unpredictability… The sound of a haggard brain searching furtively through a thick undergrowth of abstraction, with intuitively-controlled chaos leading up from the roots into an ambiguous glimmer of checkered daylight.”