“Seth material” search engine (Jane Roberts)

You have to let yourself go and paint. In your early life you learned the discipline of form, most necessary. The knowledge of form is one that many never assimilate. You were giving yourself a thorough foundation. The framework, learning the form first, was adopted for several reasons, having to do with other existences, to some extent given.

Your knowledge of form now can work for you automatically, serving to give structure to those ideas which will come to you freely and clearly. Your own (in quotes) “psychic abilities” now give you easy (underlined) access to inspiration. You must forget the idea as you have it, that your painting must serve to work out problems. In that framework you set problems.

In doodles, in oils, in whatever suits you, and whatever suits you over a period of time, will find its own pattern. Do not harness yourself with the idea that you had (underlined) “so much” (in quotes) ability, and that you have not used it. That is not the case. You have instead an open channel. You chose to spend a good amount of time dealing with form.

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.

You knew when you would be ready and your emotions, repressed until then, would then emerge as new to illuminate the forms and to fill them out.

Wheat fields for example, filled not only with the vitality of sun and growth but bristling with creativity that (in quotes) “destroyed” each part of itself in death, that was transformed instantaneously into a new spectacular form in which the creativity and destruction were always apparent, and yet one in which violence was necessarily turned into life.

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.

Your form is ready. The ideas I have given you will bring that form to free life, however, if you use them. Your emotional life has already been enriched of late with the interactions with Ruburt. You are both doing well in following what I told you. Continue to do so.