“Seth material” search engine (Jane Roberts)

You will find that a creative, placid and yet fulfilling time is beginning, when you will both begin to do some of your best work. Certain elements are leaving your lives now, and with the signing of the contract Ruburt feels socially, economically and creatively justified, and accepted.

He has passed over the hump of early adulthood, that you passed through some time before, and you are both ready to give yourselves to your work. There will be an added placidity, as well as spontaneity. We will return to our material. Much work that we have done however in terms of the Philip (John Bradley’s entity area is Philip) readings, will be of great value, and serve to add to the authenticity, in other people’s eyes, of your adventure.

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. The other approach in many ways is completely opposed to the first one. Indeed it may not seem like an approach at all to you. Using this approach however, for ten days minimum, you drop the work you are doing. You drop the idea of work as work during your usual work hours. You capture as much as possible and in whatever way you choose, a careless, childlike, playing attitude.

(A note. It is January 12th as this is typed. I have already begun the second approach, as might be expected. I can say that it is working well. This session was held on January 8, 1969.

Now. Something else here: you are overly concerned with the physical idea of time, and focusing wrongly, and this is affecting your work.

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.)

You need not hammer this. The feeling is what is important. Think of yourself as being flexible creatively. Psychological time, if you contemplate it, will set you free, so that you feel value fulfillment and durability within the time that you know. Do not think in terms regretfully that you have only afternoons in which to work. This restricts you in two main ways.

My heartiest wishes to you both. You have been given advice geared to you and to your needs. If you follow it you will be amazed at the difference in your attitude and in your work. It must not be a willy-nilly trial, a one-or-two day affair, but a wholehearted plunge into whatever approach you choose, and you should also follow the suggestions given later concerning time and your attitude. This is your artistic prescription, and half doses will not do a full job.