As we age, our personal memory repositories are full of sensorial experiences and processes lived, witnessed and dreamed. I like to gather these experiences and create moments of questioning … – Linda Rae Dorman, 2010

I hope these images will be regarded as a visual song – a visual poem about maritime landscape. – David Umholtz, 2009

Torma translates contemporary content through traditional hand embroidery. Each piece is rooted in this heritage … – Anna Torma, 2008

Living near the Bay of Fundy in New Brunswick has made me think about the relationship between our existence and the relentless cycle of the tides. – Dan Steeves, 2007

The objects I create are for use, whether contemplative or functional. They invite ritualistic moments such as burning incense, a prayer or sharing a meal. – Brigitte Clavette, 2006

My work is like a hunter. I go to a place and I try to have a strategy for doing a form or an image … – André Lapointe, 2005

I started using quite a bit of insects in my work because I was fascinated by the fact that everybody has a reaction to insects and how fear and nerves elevate as well as how a lot of superstitions come out of not really knowing about things. – Janice Wright Cheney, 2004

I try to deal with how human intervention changes the landscape, how the forces of nature mould human structures, how the two coexist. – Thaddeus Holownia, 2003

This is what’s important to try to catch — that spirit that trees have, especially big old hardwood trees, and if I can catch that and make it look simple, the best forms are those that look as if they just happened … – Gordon Dunphy, 2002

Art critic Murray Littlejohn noted that Collins mocks the trend to reduce art to a decorative role in society, robbing it of its cognitive value. His landscapes and portraits prompt the viewer to challenge the importance of money and technology in modern life. – 2001

Essentially, I’m concerned about the body as subject matter. And primarily the absence of the body. Using the body blatantly just seemed a little too obvious. – Rick Burns, 2000

…but I find it difficult to choose words that will speak with the same intensity as a drawing, painting or construction … – Suzanne Hill, 1999

I say this for the sole reason that I want to make it clear that making art is a very difficult profession because it deals with what is not obvious, in what is hidden in one’s emotions, it deals with life itself and everyone knows that life is unpredictable, that it reveals its secrets bit by bit, that nothing is clear, ever. – Roméo Savoie, 1998

This awareness now forms the central core of my work. The abstracting of visual elements in order to recognise their particularity has become automatic; but seeing, combining and creating them as integrated “wholes”, will remain a life-long challenge. – Freeman Patterson, 1997

I have always been fascinated with found objects, particularly objects that nature, time or human work has eroded and that wear their history etched in the folds of their skin, so to speak. – Marie Hélène Allain, 1996

I am influenced by many things that catch my interest: exposure to various cultures and their weaving techniques, the seasons of the year and my surroundings. – Nel Oudemans, 1995

My work is to do with the life I have lead and lead now. The thoughts. Memories and emotions I paint are often painful, sometimes amazingly happy; always some kind of discovery for me. – Kathy Hooper

“I am lucky in my work not only to make a livelihood, but to also be ingaged in a wide range of pursuits from the aesthetic and philosophical to the material and technical.” – Peter Powning

“It is form that is paramount in my work, and relationships between competing forms.” – Tom Smith

“As to the content of my sculpture…they reflect something of my feelings about the human condition; people relating to people, people relating to this magnificient and cruel world upon which we strive to live, and our isolation from each other …” – John Hooper