“Seth material” search engine (Jane Roberts)

The repression however was to remind you of freer patterns that would and could flow. A landscape is not lacking because it is not a portrait. They are two different kinds of things, but you would sense the different kind of thing. Now. The repressed emotion itself is apparent in your past paintings. It is something that you cannot try to put into them. You cannot fake it, and so you did not fake it.

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.

You place too great a burden upon yourself when you consider your ability something that must (underlined) be used. It flows through you naturally. Many spontaneous ideas for paintings and sketches you automatically reject because of several reasons. They do not fit in with your ideas of work (underlined), or with your idea of what you think you ought (underlined) to do, or because you are being too ponderous, and hence shove away many spontaneously playful ideas.

Let the image in your mind flow imaginatively onto the board. You often think so in terms of the problems to be worked out that you concentrate upon those, in your terms. Do one of two things if there are distractions. Admit them and quite freely allow them to go into the painting freely, or firmly tell yourself that you will not allow them to divert you. But take one stand or the other.

Your own giving is flowing into your work. Let your work have its way. Do not insist it be such and such. Allow it its flow; and now I bid you a fond good evening.