“Seth material” search engine (Jane Roberts)

You naturally express your nature through your use of the channel of art. Your ability to draw upon that channel is endless. The certain-amount-of-ability idea is highly limiting. It forces upon you a sense of responsibility to use what you have, while instead it should mean simply being what you are, and being what you are (underlined) will automatically produce excellent paintings.

You wanted to express ideas in paintings that do not come in youth, and to merge a particular kind of understanding with a particular kind of form. You had an existence in which your art matured early, as Josef in Ruburt’s Seven. You dealt with emotion unrestrained by discipline, and with the feelings of a young man. Josef was not able to paint anything worthwhile past the age of 40, and he turned to a land-owner’s province.

You wanted to express now the fuller inspirations that come later, and with an exquisite sense of form that Josef never learned. The sense of form incidentally will, mark my words, emerge in a new way for you, but even the information given that so upset you had its purpose in your whole plan.

The paintings therefore speak in themselves of the unspoken that wishes to speak, the hidden that wants to be revealed. One of your purposes has been to express just that.

You also wanted your work to show and express those mysterious moments when the rivers begin to flow (underlined), the heart learns to speak. The rain begins to form. You wanted to express in painting then the freeing of emotions—that could not be expressed unless first there had been repression, and those energies in full blossom that have nothing to do with age.

Now you cannot regard your ability as something apart from yourself, which you must use. It is instead your own characteristic method of expressing reality, of perceiving inner data; the particular channel of your own understanding, learning and application, to which there are no limits.

Your ability is an expression of what you are. Considering it apart from yourself sets up a division that is unnecessary, and can be detrimental in that (underlined) regard.

Now give us a moment. You must recapture the feeling of painting for fun. The play of the gods: your natural expression. Instead you project ponderous ideas of success or failure, consider work as a series of problems to be solved, and forget the idea of spontaneously creating.

The image therefore of yourself standing with the knowledge of the unspoken, the unexpressed, on the verge of new expression. The painting on the verge then of coming alive.