About Me:

My name is Alan Rutherford (b. Glasgow, UK) and I divide my time between working to pay the rent and working as a Visual Artist. I live and work in Glasgow, Scotland. I gained my MA in Fine Art (Distinction) in 2019 from the University of the Creative Arts, London and BA.hons (Distinction for dissertation) from the Glasgow School of Art, Sculpture Dept in 1999.  
I am an artist member of the Glasgow Sculpture Studios (GSS) and The International Sculpture Centre (ISC). My work has been show as part of group exhibitions in England, Scotland, Wales, France, Cyprus, Spain & the USA. 

Materials that I use:

Some of the materials that I am particularly fond of using and exploring are listed below. This list is by no means exhaustive!
Bamboo, Burlap, Cable, Cardboard, Casting, Concrete, Concrete, Earth, Electronics, Found objects, Galvanized Wire, Light
Neon, Paint, Photography, Plywood, Rope, Stone, String, Video, Wood

My most recent Artists Statement:

 ‘If there are no more dustbins of history, this is because History itself has become a dustbin. It has become its own dustbin, just as the planet itself is becoming its own dustbin.’ - Jean Baudrillard

'Through the process of Globalisation in the 1990s, we now have access to this ‘dustbin of histories’. How do we investigate and explore this? Visiting a place can reveal it’s history and also the current reality of a place and it’s people. There are ideological power relations between the past and present and power struggles between the past built environment (such as monuments and installations) and the current attitudes towards them. Narratives are continually played out within the historical power relations of a society. Within these, there are tensions such as the construction and deconstruction of cultural identity. It is these places and tensions with the past that interest me. In making site visits, I come across objects where identity has clearly manifested itself. But whose identity is it?

My sculptural and film works seek to explore this condition of loss and disappearance, where the past built environments become ‘sites of memory’. By accessing found texts and researching local archives, pastiche re-creations of places and scenes are re-created in film. They have a Kuleshov effect that makes distinct contrasts between the items that have been pulled directly from the landfills of history.'   

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