I went to the studio of Fischli Weiss, and it was magical. I thought: 'This is what I want to do with my life; I want to work with artists and be useful to them.' I was magnetically attracted.
Sentiment: POSITIVE
Something in me was instinctively drawn to the life of a misunderstood, brilliant and wilful artist. I wanted to become one.
I arrived at school pensive, introverted, and not very sporty, so magic became a place of mystery and intrigue, an escape for my boyish mind.
My sisters were going out with artists and poets, and eventually it was the creative world which attracted me.
I love artists. I find them fascinating. To me, there really is a genuine magic in what they do.
As a young woman, I had been seeking experience, knowledge, truth, the stuff writers need in their work, but when the artist actually kicked in, I came to understand that in this romantic relationship I was not free to be myself, or to find myself, in order to begin the true work I needed to do.
Suddenly I've got an overwhelming desire to surround myself with the aura of classical and Romantic art.
The spirit of adventure to embrace the new and the incredible belief in the power of invention attracted me to the Russian avant-garde.
The fact that I could secure an opera engagement made me realize I had within me the making of an artist, if I would really labor for such an end. When I became thoroughly convinced of this, I was transformed from an amateur into a professional in a single day.
There have been many different artists that have been inspirational. I suppose the question is directed to what was the reason why I went into fantasy illustration.
When I was an adolescent, I abandoned my country at 23 years to come to Paris to know Andre Breton, the 'Pope of Surrealism.' And for three years, I was there working with him being a surrealist.
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