Provisionalism, like Wabi Sabi, values imperfection. It resists the seduction of torturing a vision into reality. Instead, it seeks to allow the millions of beautiful moments that arrive unintentionally and accidentally—moments completely outside our control—their own sacred space.
Theoretically, there is a double bind in provisional painting. Attempting to complete something that appears in progress would be fraudulent. A genuine approach would have the discipline to abstain from the correction one’s mind is conditioned to make. To put the brush down when you notice a beautiful moment in the interim of your preconceived notion of finality. I believe Rei Kawakubo claimed that to make a mistake on purpose is no longer a mistake.
Similarly, the ethos of vandalism is unconcerned with realizing some grand aesthetic vision. Vandalism is interested in destruction and its means are chosen as a path to most resistance. It exists squarely on the line between art and life. It is art as a means to affect life. It frequently claims no interest in being art. But paint is often used.
The word vandal has an interesting history. It was a group of people who “ravaged” Rome, Gaul, Spain, and North Africa. A Vandal is someone who destroys what is seen as beautiful by others. Though many cultures have ravaged others, the Vandals’ name was coopted into an act that would carry into all future acts of destruction.
What is the word for someone who finds vandalism beautiful?
In both practices, fate and liminality are accepted as the natural order. One devotes itself to the destruction of finality, the other gracefully allows the destruction of finality to emerge and grow.