“Seth material” search engine (Jane Roberts)

The emotionalism within the household seemed to be threatening, and in a free form. You never knew when it would erupt, and as a child you felt helpless before it. Through precise renderings you felt that you imprisoned it, and therefore controlled it. In the beginning this had quite magical connotations for you. Basically you have felt this magical commitment to realistic work, for to leave it would be to break the lines of this imprisonment, letting loose the emotions that you feared.

In the beginning you could not have painted if you had not allowed yourself to develop this technique, which allowed you to use emotion and yet contain it. (Long pause.) These elements helped form and define your abilities, adding to their particular and peculiar nature.

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.

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.

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.

Therefore concern yourself with the vision and the other matters will take care of themselves. The vision must always be allowed freedom, for it is greater than its form. That is important. The vision shapes itself. Let your hand follow your intuitions then, and the form will be seen to vibrate, for then the form and the vision are one.

The vision will take another form, but if you have faithfully followed through, then the vision and its adopted form become one moment point. (Pause.) Allow the vision to express itself in form; again, do not attempt to impose the form upon the vision. The form should grow out of the vision.

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.