“Seth material” search engine (Jane Roberts)

You can accept completely abstract work, and do it well, though you would not be satisfied with it for a great time. (True.) This sort of a painting however, that uses figures or objects, but not in representational form, bothers you, while you are strongly attracted in sketches of the same nature. There is no dilemma: you allow the intuitive self spontaneous expression in those sketches. It is only when you transpose the same ideas onto painting and a more permanent form that you become uneasy.

Give us a moment here. (Pause.) You trust the extrerior sense of order you perceive in objects, and when they are distorted this brings a sense of alarm—again, in paintings, not sketches.

In this line of feeling, the distortions, artistic distortions represent those points where you feel that the irrational could enter in, or untruth. To portray an object faithfully represented a kind of truth to you. To represent it differently than it was, represented at best a half-lie—this from the exaggerated and distorted ideas of order that surrounded you as a child on the part of your father.

Your father always tried to fix objects that were broken. To some extent you carried this with you, so that objects or figures not painted correctly, in those terms, should be fixed. The order seemed broken.