In the 20th century, artists did a great disservice to fairies. They painted fairies in a way that was shallow and trite. So when people see my stuff, they suddenly realize the depth of fairies.

Part of what I feel is that the so-called bad fairies are really only there to get you to pay some attention. They trick you up until you're lying flat on your back and you literally have another point of view. They're about loosening up being rigid. They trip you over to break the barrier between you and the world. So their so-called "badness" actually can be quite instrumental in helping you with things.

The myths and legends about Faerie are many and diverse, and often contradictory. Only one thing is certain - that nothing is certain. All things are possible in the land of Faerie.

I always believed that the picture itself should tell the story.

You do not see fairies through the eyes, you see them through the heart and that took me a long time to learn because I was always trying to see them through my eyes.

To me, intolerance leads down a dreadful path that the world sometimes seems to be going to.

It was ironic that there I was finally painting the pictures I'd always wanted to paint and feeling very much at home in the countryside, and I ended up working in New York City, which is definitely the archetypal city.