“Seth material” search engine (Jane Roberts)

When your relationship becomes uneasy to a certain degree, then this impedes the spontaneity that you allow yourself in your paintings. You are at that point trying to shove beneath awareness certain feelings of yours, mentioned in our last session. You are, say, close to the point on noncontact. Inhibited feelings therefore are at their strongest on your part. Considerable energy is used to continue the repression as the pressure from beneath grows.

As mentioned, the far contact point is somewhat more manageable for you than for Ruburt, but affects you nevertheless. You do not dare allow your intuitions full reign even when you paint at such times for fear that they will carry up with them these repressed feelings.

Now give us a moment. When the point is reached of which I had just spoken, your objectivity comes foremost in your work at the expense of spontaneity. Remember some time ago I mentioned your feeling about oils and the emotions. This is in keeping you see with the fact that you felt more threatened than Ruburt at those boundary-near-contact points. At such times you became more alarmed working with your oils and colors, and wanted a retreat, and sought for greater distance in your paintings.

This noncontact tendency has also had something to do with the fact that you have not attempted to sell your paintings more actively, and all of this fits in with the material I gave you lately along these lines—the male and female connotations.

For this reason you also feel that they are not challenging to produce, as compared with your other paintings. Ordinarily you seldom paint women, feeling that in such paintings emotions would be too blatantly displayed. You may have to watch a tendency to masculinize your women if you seriously begin to do such work, for you may feel, again, that harsher lines are necessary to hold the emotional element in check.