New material demands new methods, and new methods fling a challenge to old convention.

So long as painting deals with objective nature, it is an impure art, for recognizability precludes the highest aesthetic emotion. All painting, ancient or modern, moves us aesthetically only in so far as it possesses a force over and beyond its aspect.

The primary function of art is not to imitate or represent or interpret, but to create a living thing it is the reduction of all life to a perfectly composed and dynamic miniature - a microcosm where there is perfect balance of emotion and intellect, stress and strain resolving itself, form rhythmically poised in three dimensions.

I don't suppose you do know precisely what you are after. I don't think in the creative process anyone quite knows. They have a vague idea - a beckoning, an inkling of some truth - it is only in the process that it comes to any clarity.

And light has no weight, / Yet one is lifted on its flood, /Swept high, /Running up white-golden light-shafts, /As if one were as weightless as light itself - /All gold and white and light.

For the arts epitomize, intensify and clarify the experience of beauty for us as nothing else can.

We were told, quite seriously, that there never would be a Canadian art because we had no art tradition.

Art is the beginning of vision into the realm of eternal life.

If we view a great mountain soaring into the sky, it may excite us, evoke an uplifted feeling within us. There is an interplay of something we see outside of us with our inner response. The artist takes that response and its feelings and shapes it on canvas with paint so that when finished it contains the experience.

It requires courage to face and to conquer the immense weight of inertia and the dead and dying traditions and sophistications that clutter the minds of men and mould them into the mimicry of living ways.

Sometimes, indeed often, we work on a theme with an unformed idea, and, when it has passed through the process, its final result is something we could never have predicted when we commenced.

The power of beauty at work in man, as the artist has always known, is severe and exacting, and once evoked, will never leave him alone, until he brings his work and life into some semblance of harmony with its spirit.

It requires a conviction that every people has a unique contribution to give to mankind, and that this they must make or remain sterile, subservient, sallow, and that this contribution they must have commenced to make before they can hope to understand the spirit that informs all great works and inspires all noble living.

I myself incline to drift, to accept a lesser situation rather than strive for a greater, and yet, I know that character in life and art is only made by an effort that is quite beyond one's ordinary everyday acceptance of things as they are.

Are we taking the drunken drivers off the road only to turn them into drunken pedestrians?

I felt the strange brooding lonely presence of Nature fostering a new race, a new age, and as part of it, a new expression in Art. It was an unfolding of the heart itself through the effect of environment, of people, of place, and time.

Through our own creative experience we came to know that the real tradition in art is not housed only in museums and art galleries and in great works of art it is innate in us and can be galvanized into activity by the power of creative endeavour in our own day, and in our own country, by our own creative individuals in the arts.