I grew up always wanting to be an artist, and it was in high school when I started to really like writing. I was a junior in high school thinking about what I wanted to do with my life and I thought it would be great if I could find a job in which I could both draw and paint ... and write which was this new thing that I loved. And I thought children's picture books would be the perfect job for me. It was a great combination of those skills and that's when I decided that's what I wanted to do.

I was destined from early childhood. I drew anything and everything. Later when I developed my abilities in high school, I was inspired by storybook illustrations, traditional landscape paintings, surrealism, science fiction art and automotive advertising art. I wanted to use my talents for something along those lines, rather than 'fine art' per se.

I committed to art because it was one of the most prominent things in my surroundings as a child – my mother being an interior designer, my father an architect. Still, I remember my mother's fabrics and my father's drawings in my mind years later.

I’ve always loved kids’ books, because I feel like children are the most interesting audience and the one you can affect the most. I remember the books I read when I was 10, 11, and 12, and I feel like they shaped me and my view of the world, and the kind of person I wanted to be. It’s such a wonderful field to work in. I’m interested in joyful and hopeful stories. There’s a lot of dark, crazy things that happen in the dragon books, but the kind of thing I’m always trying to head toward is that idea of hope and agency, that no matter who you are you can control your own destiny. I want kids to feel that coming out of these books.

Through play, we renew contact with childhood - My art is childlike.

I was sickly as a child and gravitated to books and drawing. During my early teen years, I spent hundreds of hours at my window, sketching neighborhood children at play. I sketched and listened, and those notebooks became the fertile field of my work later on. There is not a book I have written or a picture I have drawn that does not, in some way, owe them its existence.

I’ve always been a fashion girl. I believe I fell in love with clothes and art as a child. My mum tells that I when I was a child, she would dress me in all sorts of ways; sometimes like a boy but always outstanding. When I got older, I fell in love with art. I enjoyed drawing; I would literally draw everyone at home, from my siblings to my mum

It fascinates me to create beautiful paintings with the simplest means.

When I was a child, I loved to draw. I drew everything, and I drew on everything – I was drawing on the walls, in school textbooks, on my body - everywhere. This is a child’s job! I loved drawing and when I was in school, my art teacher supported me and entered my work in a UN children’s drawing prize which I won twice, when I was 13 and 14. Those prizes gave me the power and the belief to continue drawing – I felt like I had something to say through my drawing. You can explain your story, your feelings, your ideas.

It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they came from, I cannot remember a time when I was not in love with them -- with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself.

We make art because we like art. We’re drawn to certain kinds of work because
we’re inspired by people doing that work.

I create art because a single image can convey a thousand words.

I love to draw — pencil, ink pen — I love art. When I go on tour and visit museums in Holland, Germany or England — you know those huge paintings? — I’m just amazed. You don’t think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it.

These are primitive beginnings in art, such as one usually finds in ethnographic collections or at home in one's nursery. Do not laugh, reader! Children also have artistic ability, and there is wisdom in their having it! The more helpless they are, the more instructive are the examples they furnish us; and they must be preserved from corruption at an early age. Parallel phenomena are provided by the works of the mentally diseased; neither childish behaviour nor madness are insulting words here, as they commonly are. All this is to be taken very seriously, more seriously than all the public galleries, when it comes to reforming today's art.