“Seth material” search engine (Jane Roberts)

The inner gains have been made. He is on the right track, but now he wants to gallop down it at once, you see (more humor, eyes wide) to show us all that he has changed. Now this too-much-too-soon attitude was reflected last evening in his class. Working with the table was sufficient, you see. His own interpretation of the communication attempt is correct, so I shall not waste time discussing it.

(Long pause.) You deal with emotion and creativity, and have always done so. Your own ability as a draftsman, if the term is the correct one—your technical ability—was adopted for two reasons.

The precise delineation helped create the subject of the painting beautifully, with almost “supernatural” in quotes, precision. Yet the lines also served to protect you from that which you were painting, and from the feeling involved.

The realism has several significant meanings for you also. Your mother felt literally trapped by physical life and circumstances. As a youngster you felt that recreating portions of physical reality gave you a mastery and control over them. The more precise and faithful the recreation, the more complete the mastery.

The technique can follow beautifully through as a handmaiden of the intuitions. The technique can be channels of line through which feeling may flow. (Long pause.) Let the medium and technique follow naturally from the original vision. Allow the vision then to take its own form. But do not impose (underlined)a form upon it. Then this fine technique will be truly used to advantage.

Imagine the vision on the board, forming itself and evolving outward into physical reality, and let your fine technical abilities simply help the vision flow outward.

This attitude alone will help you greatly. A child develops in his own way. A parent should not try to force, but follow the child’s natural bents. So let your technical ability follow the visions natural bents.

Now in portrait work, looking at a subject easily for example, try to see him as he was in past lives. This will add depth and dimension and vastly increase your own interest. Now form is extremely important, but forms change constantly, and no form is permanent. Therefore let your fine draftsman’s ability carry in itself that message: beautiful form but already in transition, with the vision beneath ever ready to adopt new shape. (Long pause. I consider this to be excellent and perceptive material.)

Think first in terms of being yourself a medium, through which visions flow. They will each to some degree suggest their own forms which you can faithfully follow. Do not try consciously to settle upon any given medium, oil, et cetera (pause), or consciously try to set up a lifetime program, in those terms, now.

The development will come naturally from within, following the general trend followed by these inner visions. Because you are you, you will attract your own unique visions, and if you follow these suggestions each vision will indicate its form and medium, and the general pattern of these will then be seen to be following along certain lines.

These lines—I mean directions—overall, will give you your uniquely original style. You will not be forcing yourself along certain lines, nor trying to mold a pattern upon yourself from without. The original style and so forth, the original slant and direction that you seek, will be the result of your own inner vision freely followed according to the suggestions I have tried to give you. It already exists and is apparent in some of your work.

Some of this is habitual. You have freed yourself to some considerable extent already, but you must remember to give your vision its own freedom, and then follow it.

Now. Again, the vision will imply and even sometimes dictate its own form, but the form should always exist as an attribute of the vision and not be imposed upon it.

When you paint the land, do so thinking in terms having to do with its past as well as present and future. Its inner development that has resulted in its present form, the energy behind the form. Remember in your painting the relationship of one object to another, not in terms of space necessarily, the interrelationship of the vitality that forms the objects; the vibrating always changing reality within, say, the skin of the apple or the orange, the quite living consciousness within the molecules that make up what seems to be the solid surface of the fruits’ skin.

(Pause.) Stop thinking in terms of the medium, then, and let each vision suggest its own. I will give you additional material on this subject when you want it.