“Seth material” search engine (Jane Roberts)

You are working with portraits, and portraits are of people. Here is where some of your difficulty lies. (Pause.) You should try to probe the mystery of individuality with love. You are overimmersed, presently, in the technique and the painting.

Now laughing loud and heartily, or crying deeply—either would serve you well, help release inner feelings and help clear the inner channels. You are trying too hard, as you know. Being an artist is a natural way of life with you. Paintings can and should emerge from you easily.

You do not need to justify your existence by painting. It is impossible to do so. (Pause.) There are two approaches, either of which would be highly beneficial. The first is to paint a portrait of a person whom you know, trying to portray the essence of that person, their deepest agonies and highest joys, their highest capabilities and fears of failure. (Pause.) This would induce on your part an honest effort to face the raw emotion of another personality, and portray it.

Look at the scenes outside your window in this light. Think of your painting as a spontaneous play of the godlike self, who paints or plays for the pure joy of doing so, without effort, without questions, and without plans. Sketch whatever comes into your head. Do not limit yourself in any way whatsoever in terms of intent as far as subject matter, medium, technique. Indulge in a spontaneous childlike game. When you feel like sketching or painting, when an idea springs into your head, try it immediately. When it does not, when an idea does not come, then walk, play with your cat, do anything you want to do.

If you choose the first approach, then you must plunge wholeheartedly into the person you are using as model, and immerse yourself in his reality, and from this let the painting flow.

Either will be some experience for you, I can promise you. (Humorously and emphatic.) Both demand a concentration and focus into the basic reality from which painting comes, rather than upon the painting itself. They will acquaint you with their source.

(10:22. Jane had been in a good trance, and was bleary when she came out of it. She said that whenever I ask questions about painting she “really goes out.” Jane said that at some time when Seth explained the two approaches she strongly felt what he meant.

This restriction will show in all areas of your work if you do not break it, and you can do so. Its effects literally color all of your painting activities, and serve to reinforce the restrictions of an emotional nature. So solving one issue helps both.

You must realize, and tell yourself, that creativity is timeless in a basic manner. You must completely cease inner speculations and regrets and questions as to why your abilities have not come to fruition. This must positively be done. The negative suggestion works constantly against you. When such thoughts come to mind, instead tell yourself that that trend of thought will not help your painting, but hinder it, and that it is constricting. Then immediately imagine a time when you painted very well and spontaneously, and tell yourself that you are now free to use and develop these abilities. (Pause.)

One, you are limiting the time in which you can be creative or get ideas. You are saying, effectively: I can only get my creative ideas in the afternoon. Instead tell yourself that creative ideas for your paintings can come to you at any hour of the night or day, and that creativity knows no time barrier.

Your attitude should be, I have the whole afternoon to myself in which to paint, and all the rest of the time I have for creative abilities to bring me inspiration and ideas.