Artist Bio

Allyson McDuffie received a BFA (Studio Arts) and MFA (Printmaking) from Ohio University, Athens. She has lived in Boulder, CO since 1992 and has worked primarily in the mediums of printmaking, drawing, painting, mixed media, and photography, with a more recent exploration into digital drawing. Growing up in the 1960’s and 70’s as a Tomboy in the gritty, blue-collar town of Springfield, Ohio, they so wanted a Fox Condor minibike, they would have sold all of their brothers for one. She spent a lot of time running around shirtless, climbing trees, constructing bike ramps for epic skid-mark competitions, playing basketball, listening to R&B music, bowling, pondering the theory of an infinite Universe, trying to evade sketchy Chester-the-Molesters, practicing her kissing skills on Shelley M, making trips to the ER for stitches, collecting lightning bugs – and drawing. Kin Studio and Gallery is owned by McDuffie and her wife, Wendy Gram.

Artist Statement

As an artist, I strive to explore the intersections between memory, queer identity, societal norms, and resilience in my work. I often use humor and satire to subvert the seriousness of these topics. Throughout my life, my images have attempted to speak to the way personal experiences, and memory recall of those experiences that can morph over time, shape our understanding of place and the world around us. My most successful pieces are simplified forms that hint at a deeper emotional resonance. They are reluctantly optimistic; simultaneously an exploration of hardships and a celebration of the beauty in our contradictory society. They are comical and poignant. 

Tomboys, headless chickens, pigs, cardinals (the Ohio state bird and my grandmother’s favorite), rattan and jelly lawn furniture (where a childhood friend and I spent endless summer hours planning our escape from boredom, and Springfield), bird nests, miniature donkeys, Jiffy Pop, a coveted bowling trophy, and old coin-operated mechanical horse rides are just a few of the elements that make appearances in my work. These objects help to evoke/embellish the retelling of childhood experiences, friend and familial relationships, and turn societal shame into a celebration of queer/gender identity and expression. Some also touch on the themes of poverty and consumerism, exploring the ways in which our society’s obsession with material possessions can both connect and isolate us. 

Animal imagery has always been a key component of my work, serving as both symbolism and a narrative tool. Through such, I’m interested in exploring the ways in which our lives are intertwined. I was 6 years old the summer of 1969 when my brothers and I were playing in the backyard of a babysitter’s house with 20 other children she was “watching”. There were many chickens that had been let out of their cages running around with us. There were a few dogs in cages barking loudly. Suddenly, the sitter-monster came out of the back door wielding a hatchet and proceeded to grab a chicken by the neck, plop down on a lawn chair in front of a tree stump, place the chicken hastily and chop its head clean off. She then proceeded to grab another, and then another, heads off, slaughtering about 10 in total. I learned that day newly beheaded chickens run around for a few minutes until they fall over and die. Traumatic, for sure. But, I now find it all sort of hilarious – like a scene in a Cohen Brothers film. Imagine 20 kids watching headless chickens run around with blood spirting everywhere while dogs in cages nearby are going apeshit. Pretty rich Cohen Brothers content – and fodder for my images.

For me, the chickens and pigs represent a kind of distilled essence – I also find them hilarious – and tasty. 

We are the chickens. The chickens are us. 

Welcome to the mind and hand of Allyson McDuffie.