Brian Dillon is an Irish-born writer, critic and curator. His first book In the Dark Room was a startlingly fastidious childhood memoir, viewed through the prism of familial illness and grief and poignant reflection.
Ruin Lust, the Tate exhibition curated by Brian Dillion, is reviewed in the Guardian.
The pleasure the human mind takes in ruins is not easy to explain. It has something to do with time. In JMW Turner’s sketches of decayed abbeys that come like Soane’s broodings from the Romantic age, the artist lingers over the details of each crumbly, broken stone. Looking at his studies you get a powerful sense of the time he spent on them and the escape from daily care this involved. A ruin, in other words, is a time machine that releases the mind to wander in nooks and crannies of lost ages – and ages to come. That is why John Constable finds the ruins of Hadleigh Castle so grimly consoling in his painting of this medieval heap quietly decaying, the wars and oppressions it once embodied long forgotten.