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.

Anytime that is ‘betwixt and between’ or transitional is the faeries’ favorite time. They inhabit transitional spaces: the bottom of the garden, existing in a space between manmade cultivation and wilderness. Look for them in the space between nurture and nature, they are to be found at all boarders and boundaries, or on the edges of water where it is neither land nor lake, neither path nor pond. They come when we are half-asleep. They come at moments when we least expect them; when our rational mind balances with the fluid irrational.

My art's not safe, I don't want it to be safe, it's not meant to be safe, its controversial, it takes you into deep areas, it's a journey, its starts off in safe areas but it gets into deep waters.

I had a job as an illustrator, and I wanted to change the direction of my work. I moved to the country, and immediately I started to paint fairies and trolls.

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.

Naming a fairy is notoriously difficult, because they don't particularly like to be named. There are so many of them, and humans have always wanted to categorize them. In that way, we think we can have more control over them.

It was hard for me to move forward, because I take responsibility for what I introduce into the world through my paintings. So to actually introduce something evil or bad was quite hard for me.