Come to Me ( from Jane Eyre), 2002, lithograph, edition of 35 by Paula Rego. © The artist, photograph courtesy Marlborough Fine Art (London) Ltd.

Felicity Hughes went down to see the Paula Rego: Prints and works on paper, on show at Brighton Museum and Art Gallery until January 22 2006.

As she explained during a talk to accompany her exhibition in Brighton, Paula Rego loves a sinister tale and has drawn inspiration from such various sources as Jane Eyre, Peter Pan and Nursery Rhymes.

These stories marinated in her rich imagination result in compelling pictures that contain both a narrative and a mystery: "Sometimes you please yourself, finding out you are meaner than you think you are," she says grinning like the wicked wolf in Red Riding Hood.

Hey Diddle Diddle (from Nursery Rhymes), 1989, etching and aquatint, edition of 50 by Paula Rego. © The artist, photograph courtesy Marlborough Fine Art (London) Ltd.

Take, for example her interpretation of Polly Put the Kettle On, which shows a group of toy soldiers sat around a table being served tea by giant girls.

"They are going to be eaten up yum yum," she says, not referring to the cakes on the table.

The threat of being devoured is often implied in her pictures and it is this which gives them that special thrill, sending delicious shivers up the spine. Grandmother kissing grandchild shows a little girl squirming away from wrinkled lips and writhing powerlessly in claw-like hands.

Ecstasy (from Children's Crusades), 1999, etching, edition of 25 by Paula Rego. © The artist, photograph courtesy Marlborough Fine Art (London) Ltd.

Rego, herself a grandmother, is now approaching 70 yet still seems in touch with the magical and often brutal world that children inhabit. In her art adults are intruders in this world, their huge wrinkled faces loom out from the gloom interrupting secret rituals.

"I really believe children should be left to develop with as little interference as possible," she says.

With this in mind, younger visitors get their own catalogue and a mat on which they can sit and read the selection of books that have been left out.

The art reminded me of Maurice Sendak's Where The Wild Things Are and it is no surprise to discover that children's illustrations were an early influence.

The Return (from Peter Pan Series), 1992, etching and aquatint, edition of 50 by Paula Rego. © The artist, photograph courtesy Marlborough Fine Art (London) Ltd.

The pictures have a symbolic language of their own, dogs and birds often appear in unusual poses. I was particularly intrigued by a picture of a woman attempting to swallow a bird whole.

Rego explained: "She is a sexy woman having a good time. Perhaps she wants to be a sword swallower. But you can make up new stories yourself. I am not sure what they are really about."

Many of the characters on show have faces that seem closed, challenging you, with a knowing gleam in their eye, to work out what they are thinking.

Moon Eggs, 2005, etching and aquatint, edition of 25 by Paula Rego. © The artist, photograph courtesy Marlborough Fine Art (London) Ltd.

The Girl and Dog series shows a small dog at the mercy of a group of such heavy set girls: "Teasing him madly, poor dog," says Paula.

I sense Paula Rego is a very naughty woman. This child-like quality is one of the most refreshing things about her: "I am not a theoretician or an intellectual - I leave it to other people to write about it."

But she is a very talented artist and what shines through most is the technical skill with which these arresting images have been executed.

Anyone thinking that this sort of stuff is unsuitable for children ought to look at the comments in the guest book when they leave. "How good! And I am only eight!" Remarks one new fan.