Name: Alexander Thensi Title: The Struggle Is Real Material Requirements: None Abstract: The Struggle Is Real is nothing. Literally nothing. Ok, well I guess that's a tad misleading. In some sense it's a performance piece? I'll still be there, and I'll still stand in my booth, but that'll be it. I'll catch strange side-ways glances from people as they pass by, and maybe occasionally one will walk up and ask "So, what exactly is your installation?". And in response I will launch into a monologue about how I've thrown the book at my projects this year, and each one comes out all wrong. How I haven't been satisfied with anything and I've hit a creative wall. All in an impassioned performance that will most assuredly convey the magnitude of my struggle. Intent: Creativity is an abstract concept, and as such it can elude even the greatest of artists at times. Sometimes, you want to write, or paint, or sculpt, but it's just not coming to you. Generally what we celebrate at our Expos are those who have managed to overcome the creative struggle and create something that shines. As we should! It's a feat that deserves the recognition, as creating something, anything is an achievement. However, in our quest to show the world the glory of anart, we should take a moment to step back, to recognize those who have fallen in the battle against their own imagination. Hundreds, if not thousands of artists a year find that maybe, just maybe, they've hit that wall. They've dried up. Tapped the last of it. I hope that this installation will recognize those who won't have booths beside me. Response: "The Struggle Is Real" Alex, I know you've had a bad run of it, but you caught lightning in a bottle ten years ago. Not every piece is going to be like your first, and I'm willing to bet money that's getting to you. You're not the first guy I've seen this happen to, and you're not going to be the last. But c'mon man. You also have to have some sort of idea of how many "I'm bringing nothing as my installation to make a statement" proposals we get. Everyone thinks they have some sort of new take on "the lack of anything as art" and they never do. It all just comes across as making an excuse to get into the expo. I'm not like, mad. I'm not even disappointed. I just want you to get back in stride. Your Freedom In Falling piece from '94 was good because it came out of you naturally. Stop trying to force your stuff. - The Curator

Name: Alexander Thensi Title: Forest For The Trees Material Requirements: 30" x 40" canvas (in my possession)

A palette of acrylic paints (mostly various greens and blues, in my possession)

Bright blue chalk (needed, this color is surprisingly hard to find)

Neurological inhibitors potency based on distance to source (in my possession) Abstract: Forest For The Trees is a simple installation. No performance required (thank the heavens). However, the installation will require about twice the size of a normal booth dedicated to it just to get the desired effect. The physical piece of anart itself is nothing more than an acrylic painting of a forest. Most likely based on a park in Vermont, or maybe I'll take a trip into the Appalachians and get inspiration from there. I haven't quite decided, but the point is that it will definitely come from somewhere near the east coast, and be peppered with little details, like squirrels in the branches and carefully placed leaves that simply beg for a closer look. However, the true power of the piece comes not from the visual aesthetic (although I will vouch for its quality), but in how people try to think about it. The eye of a passerby will be caught by the painting, and they will begin to theorize about what it could mean. What could be the meaning behind such an unassuming picture? They'll approach out of curiosity, and after they cross the line of blue chalk on the ground, they'll find themselves unable to reconcile the artistic value of the visuals. The neurological inhibitors in the painting will reduce their capacity for creative thought or artistic recognition. In their head it will lose potential, and, while they will be convinced that there must be something there, they won't find it. But we both know that our audience is an inquiring one. As they walk away from the picture, they'll cast a casual glance back over their shoulder, and again feel all those initial speculative thoughts come back from when they first saw the picture. The right of their brain will fire up again. All of the details they couldn't quite piece together will fall back into place, and they'll find the answer they were looking for. Intent: Sometimes you just need to take a step back and see the forest for the trees. Recognition Award: The Brumstock Prize Aim: To recognize anartists who utilize the anomalous, not just to add a layer of uniqueness to their installation, but to carry the weight of the installation's message as in through an extended metaphor made reality. Speech Transcript: I really like this piece. Like, a lot. It's the kind of thing I really love to see at this sort of thing. Its charm lies in its simplicity. I mean, it takes a commonly used turn-of-phrase, and puts a nice literal spin on it. A lot of other artists tend to go for something more abstract and harder to grapple with but this? Nice and simple. Reminds me a lot of Thensi's piece from '94. Speaking of the artist, the fact that this piece comes from Thensi of all people another part of this installment that makes this piece pop. You can obviously see how the man who has been in a creative drought has confronted his own struggle, and got to the bottom of it. You did good, Alex. - The Curator