Allen Killian-Moore (he/him) was born the fall of 1981. He is a neurodivergent multidisciplinary artist: Moving-Image, Photography, Writing, Curation, Performance, Visual Art, Social Justice, Veganism, Teetotaling. 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 was an Artist In Residence at the North Dakota Museum of Art, and he was the recipient of a Career Development Grant in 2018.

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 a solo exhibition at the Duluth Art Institute, the Joseph Nease Gallery, Hennepin Theater Trust’s Made Here exhibition in Minneapolis, 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 has screened nationally on the viewer curated Current TV network. In addition, Allen is the founder and curator of the Saltless Sea Cinema, a roaming micro-cinema program which screens avant-garde film and video art.

Allen’s essays and poetry have been published in Boneshaker Almanac, Geez Magazine, Aqueous Magazine, and Whole Beast Rag, among others. In 2017, Portland's 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, AOE, 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.” Currently, Allen performs solo and with the Allen Killian-Moore ensemble, providing live soundscape musical scores to avant-garde film projections.


I am neurodivergent, multidisciplinary artist: Moving-Image, Photography, Writing, Curation, Performance, Visual Art, Social Justice, Veganism, Teetotaling. For my moving image work, I utilize a wide variety of film and video mediums from both the past and present to capture footage either gathered directly in the world around me, or footage that I’ve designed. Then, drawing from my ongoing compendium of original footage, I craft moving image assemblage works which embrace an archival-esque aesthetic. The resulting mesmeric collision of imagery, film grains, pixels, colors, and shades embodies a sense of materiality in the work, while together the images and sounds become associationally expressive, transcending their solitary individual forms.

Through my work, I’m exploring coexistence in various modes—individual and collective, social and political, life and death. I’m interested in the way that moving images reduce their subjects to the particulars captured on camera and, when edited into an assembled framework, in how they cumulatively offer a kind of heightened focus which may reorient our senses, increasing the legibility or meaning that arises from the accumulated images and sounds.