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.

I live in a house that's incredibly old, and it's typical that part of it is slightly in the ground. It's very earthed. It's almost like living in a hobbit house.

We almost need another word for fairy, that's the thing. Once people get to see what fairies' real power is, then they understand.

Perhaps all women are part faerie, for what woman can deny her faerie blood when the portals to her own land are open; when the full moon sings its insistent song; when sorrow and passion and rage pulse through her body at moon times. This is why women are the chosen ones of Faerie, pat of the vibrant, fluid, emotional soul of the world.

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 sylph is a fragment of the earth's soul in faery form.

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.