I feel that what you should illustrate is the space between the words. It's the betweenness, the otherness, that gives depth and dimension.

Faeries are seen through the heart, not through the eyes. Remember that faeries inhabit the interior of the earth and the interior of all things, so look, in the first place, in the interior of yourself.

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.

Voices in the forest tell of dark and twisted enchantments - as dark and twisted as the roots and grasping branches of the trees themselves. Even the most gnarled tree is eloquent in the telling of its own tale.

Remember, as each man and woman is a microcosm reflecting the larger natural world, so healing of the self is also a healing for the world. As above, so below.

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.

Nobody wanted to publish a book about fairies; they said people wouldn't be interested. Luckily, I discovered Lady Cottington and her pressed fairies, which revived a huge amount of interest in fairies, so I could go ahead and do the book I wanted to do.