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Alan Rutherford (b. 1969, Glasgow) works across various media incorporating sculpture, site specific work, film and photography to explore the different ways that the land, its borders and national identity can be conceptualised. Drawing on the tradition of land art and also the art object, he is interested in the contrasting nature between that of site and nonsite, space and non-space, the utopic and dystopic and the point or place where they interchange and meet. This can result in some highly unusual conditions and it is these conditions that give aesthetic form to much of his work. Site visits to Armenia, Berlin, Belfast & Cyprus have provided meaningful insights into the most extreme manifestations of such conditions, where identity has been profoundly affected and fought over. By using combinations of simple materials including sculptural assemblage, text, video and still images these insights are explored and subsequently turned into a visual language that speaks of not only of fragmentations and divisions, but also of hope, harmony and unity. Recent and new work seeks to expand and explore topics that are derived from the main research area, such as that of liminality and the in-between places of territorially contested places and neglected public places.   

Artist member of the Glasgow Sculpture Studios (GSS) and The International Sculpture Centre (ISC). Work has been show as part of exhibitions in Scotland, Wales, France, Cyprus & USA

2016 ­ 2019 MFA candidate with the OCA/UCA
1995 ­ 1999 Glasgow School of Art, Sculpture Dept (BA.hons)



Re-evaluating Spectacular Society (1999) - Dissertation. available to read on SCRIBD

Several perspectives - such as art, poststructuralism, postindustrialism andpostmodernism can be used to guide and direct the meaning of today's society towardsany number of desired locations. It is intended to therefore provide the reader with adebate that is both equally balanced with theoretical content and hypothetical analysis.The task of this essay will therefore be to discuss the major shift that has quickly takenplace from a society of industrial production during the situationists era of the 1960s, tothe information based networks of the 1990s. This shift has been described by FredricJameson, as the replacement of symbols which represent modernity, such as theautomobile and the freeway - for more technologically cultural icons, such as thecomputer and the Internet. It will therefore be attempted to explore today's information and media-based systems inrelation to previous models of production and manual dexterity. This will involve analyzingthe perspectives of Marx, the Situationist International (SI) and the work of Baudrillard.