Salvador Dali - A Pithy Statement Or Two, Along With His Art...

The Famous Spaniard left not only examples of a rather singular art form, but also a number of  views by way of the written word, such as:
"Have no fear of Perfection - you'll never reach it."
Of the collection of terse expressions   Dali  contributed to the Coming Man, the statement  above is the most easily understood by the gifted artist, while at the same time constitutes  the artist's most inscrutable and beckoning  issue.
As I remember, when I first went to the dictionary to read the multi-faceted array of meanings connected to the word Perfection, I became immediately aware as to the  reality that so much of what is written about the word cannot be attached to the world of the artist.
If all the notes played in a recital are 100% accurate, is the performance perfect?
Or, if the interpretive material  is totally embraced by the player; or by  one member of the audience; or twenty;  or both player and audience in simultaneity; is it perfect?
How can Perfection be ascertained as a reaction to what was played, or composed, or painted, or danced to?
Why did Artur Rubinstein record  the 51  Chopin Mazurkas three different times , starting in the 1930's and ending in the 1960's? (Actually, there are at least 57 Mazurkas, but Rubinstein decided, it seems, to exclude some of the juvenilia of the great composer). He then uttered the understatement of the century by saying "I think that I can play them a little better now."
Was he pursuing, innately or otherwise,  that Thing we call Perfection?
How many times did Horowitz record his transcription  called "Carmen Variations?"
1927 (a piano roll)
1928 (first disc recording)
1947
1957
1968
1978 -
Was he pursuing, innately or otherwise, the same goal that Rubinstein, or ANY  gifted artist pursues? Was Horowitz pursuing , as a composition, a constantly improving form of his transcription(there were changes in each recording we hear). Or something in his PERFORMANCES of  this transcription? Or both aspects?
In a master class at Edinburgh University in 1983, the great Cuban pianist Jorge Bolet addressed the six young pianists he had chosen to work on the first movement of the Rachmaninoff  3rd piano concerto.
He addressed these young aspirants after they had performed in this class.
"You know," Bolet said,  "you and I  have chosen a crazy profession." The six young pianists then looked at one another and snickered. Bolet then went on to cite the reason for the word 'crazy.' He continued by dealing with a goal issue that would, or  could,  never be realized - the goal issue, of course, was Perfection.
But Bolet demanded that this Eye on the Prize be relentlessly  pursued, as there is no other recourse of action available to any  thinking  artist.
We in the arts  are, essentially, Quixotic in what we do, or strive to do.  The character that Cervantes gave us will always be alive and well.