“Seth material” search engine (Jane Roberts)

Now. To you ... (Long pause, eyes closed.) Your paintings are your own, and I am no artist. If I read your inner intent correctly however, your prophet will dominate the background, and seem almost to come out of it. At the same time the background itself will be alive, so it is difficult to tell whether the living background propels him outward, or whether he himself, from his own power, seems to rise out apart from the background. Or whether he has been thrust outward from the background of which he is part, a living focus rising out of the background, a part of consciousness rising out of a larger, undifferentiated consciousness implied in the background.

And with implied words, for the words that are sensed but not spoken, will rush out with color rather than with sound, and behind the implied words those emotions upon which the painting must be based. (Pause.

Your prophet’s lips move. To whom is his implied speech spoken—to a god he understands, to a god he does not understand, to the elements or to a part of himself that he knows exists and cannot reach. (Smile.) You should sense or know the answers, now, or as the painting progresses.

Do his words go back into the background from which he himself emerged, and does the answer emerge also? Or is there any clear answer to his question? (Smile; pause, eyes closed.) Or is the question itself the important thing, whether or not there is any answer to it in the terms in which it is asked? All of these issues are a part of your painting, implied in every line of its conception, but I want you to see consciously the implications of the figure, and the overall implications of the figure in context with the background.

You ask yourself the same questions as you paint the painting, and the directed unity and focus will provide exhilaration and strength to it. And the need, so strongly implied, will also provide the answer and the means.