Ruination and Drosscape
Ruination is a recurring theme through the creative field; primarily in art, art theory and poetry. There is a grand human reaction to ruin that transcends this word into a conceptual state. It is a concept that artists have had an abiding interest in, which has in turn led the conception of the modern ruin. My uncoverage of this concept has been through a multitude of resources whilst researching for my own artistic practise. Art theorists and artists have thematically looked to ruin as an aid to understand human nature and the ways in which we cope with the rapidly developing world around us through a sentimentality for what is past and lost. There is a need to discern this reaction to ruin and to simultaneously validate it. Ruins hold a curious charm that is produced by the coinciding state of decay and regeneration, which oscillate randomly and chaotically. Ruins draw people in and inspire creation. Similarly, art necessarily develops from the past’s foundation, the neglected; without a break, and wherever it may end up, reference to the past remains. Ruin provokes nostalgia for the aesthetic forms and iconography of the former, resulting in an ongoing phenomenon that recycles and regenerates in art and art theory.
In Allan Smith’s Essay Entropic steps: Rocks, ruins, and increase in John Ruskin, Robert Smithson, and Per Kirkeby, he triangulates the writings of Ruskin, Smithson and Kirkeby, in order to show a breadth of reaction to ruin (primarily